SCREAM 6: GHOSTFACE SOCIETY
by Billy Bob D
Summary: The follow up of "Ghostface Radio" comes the epic final chapter in the Scream saga! A sinister group is coordinating attacks in multiple locations and varied times, keeping investigators on their toes in search of the deadly GHOSTFACE SOCIETY.
1. THE OPENING: PART I: Fright Nights

The DIMENSION logo shines on the screen. The music is tensing up already. What's coming? The screen goes to black...

SMASH OPEN:  
>A MAN SCREAMS above the camera as FLAMES SHOOT UP behind him. The rock soundtrack kicks in, the chorus of "Dragula" by Rob Zombie already rocking on. He's in pure enjoyment, fists clenched in the air and sticking his tongue out. We ZOOM OUT...<p>

EXT. SUNRISE STUDIOS HOLLYWOOD - ENTRANCE - NIGHT  
>This is CHUCK, bandana around his head, overly ecstatic about being here. He continues to celebrate as we then see his friends behind him, less enthused but still excited. We PAN AROUND to where they're headed - - the Sunrise Studio logo rises from the ground next to them (the now infamous studio logo) and the entry way is a dark and brooding atmosphere. Under the entrance sign for the new, rip roaring theme park is a banner: HALLOWEEN FRIGHT NIGHTS 2016, with the tagline reading under it, "What's your favorite scary movie?" Advertisements and billboards hang everywhere with Ghostface's persona on it.<p>

The group head passed security and make their way for the ticket line. The place is packed; this is a local night life hot spot during the Halloween season for the last two or three years. Mostly college kids and unbelievably, mostly people who don't know a thing or two about horror movies. Chuck doesn't fall into either category - he's a 25 year old, horror movie fanatic who loves rock and roll and partying. Suffice if we're to say, he still acts like he's in college but it's apparant he's passed his prime at times when he tries too hard.

Chuck turns around to the four friends with him: 2 of them are a couple, hispanics who appear to have been in a relationship for quite awhile, KRIS and CARL (his name is really Carlos, but he's trying to break the mold). Also with them is TINA and PHILIP. Tina is Chuck's sister, white as can be and seems a bit panic-y about being here while Philip, Kris's brother, is trying to warm up to her by relaxing her. There is an obvious affection between the two, but not to make things awkward for Chuck, they're not being all lovey dovey like Kris and Carl.

CHUCK  
>That's right baby, here we are, Halloween<br>Fright Nights! The premium Halloween event  
>located in Los Angeles, California with -<br>(opens up event map)  
>- 6 spine tingling mazes, scare zones, a<br>Stab Tram, HELL YEAH ON THAT ONE and shows,  
>kicking ass from 7 PM all the way to 2 AM<br>in the morning and we are here JUST in time!  
>(tries to be official)<br>Now I'm a HFN veteran so I'll be your guide  
>so we can get through all the frightening<br>attractions we possibly can!

KRIS  
>(smiles)<br>Chuck, you're a dork.

They reach the front of the line while Chuck picks up the tickets. Tina looks on at all the decorations, her body already tensing up about the very thought of entering this place.

PHILIP  
>What's wrong, girl? I told you, you ain't<br>got nothin' to be scared about.

TINA  
>Nothing, it's just my stupid brother. Chuck<br>knows I hate being scared, I don't know why  
>he would even bother to invite me. I can't<br>even stomach a Children of the Corn movie  
>and those are the least scary of any scary movies.<p>

PHILIP  
>Hey, it's cool, Tina. You got me, alright?<br>I'll protect you from all the ghouls and  
>goblins.<p>

TINA  
>Slightly more comforting, Philip.<p>

CARL  
>Yeah, just remember, the scare-actors can't<br>touch you. It's against the rules.

CUT TO:  
>EXT. SUNRISE STUDIOS THEME PARK - MAIN GATE - NIGHT<br>The five of them enter into the fog, Chuck ready to blow his lid in excitement. A BUTCHER REVVING A CHAINSAW RUNS DIRECTLY IN THEIR PATH, SLIDES ON THEIR KNEES AND STOPS BEFORE THEM, CUTTING THE GROUND CAUSING SPARKS TO FLY EVERYWHERE. Tina jumps back, holding onto Philip. Chuck can only smile and laugh it all. The butcher gets up and runs off, scaring another batch of kids.

CHUCK  
>Oh God, I love it! This, THIS, is my<br>Christmas.

KRIS  
>Okay Chuck, where to first?<p>

CHUCK  
>I don't know, I'm down for anything, what do<br>you guys wanna do?

TINA  
>The bathroom seems appropriate since I just<br>shit - my - pants.

Chuck frowns and Philip nudges her, slightly chuckling.

PHILIP  
>But hey, that sounds good, let's hit the<br>bathrooms first, that traffic out there  
>took forever.<p>

Philip goes ahead and walks on, Kris and Tina going in together, leaving Carl and Chuck outside. They turn to the rest of the park, watching people jump out of their skin as the screams fill the night air. Carl looks at the map.

CARL  
>Hell yeah, bro, let's get on the Gliding<br>Coaster or the Dino Shooter!

CHUCK  
>No, no, no, Carlos...<p>

CARL  
>It's Carl.<p>

CHUCK  
>Listen to me very carefully... we need to<br>get through all the mazes and other Halloween  
>oriented attractions first and THEN, if we<br>still have time, we can get on the rides.  
>Which all could've been bypassed if you guys<br>would've saved up money for the Front of the  
>Line Passes but nobody wanted to listen to me...<p>

CARL  
>(trying his best to not strangle him)<br>Well what do you suggest we get on first?

CUT TO:  
>EXT. STUDIO TOUR QUEUE - NIGHT<br>The entire studio/theme park is dressed head to toe in Halloween madness. Chuck & Co. make their way through the Studio Tour's queue, the walls aligned with all of the studio's history. In all the places it should be saying "STUDIO TOUR", it instead says "STAB TRAM."

TINA  
>So what is the Stab Tram anyway?<p>

CHUCK  
>Well we get on the Studio Tour trams and it<br>takes us down to the backlot of the studio  
>where some of their biggest horror movies were<br>filmed.

PHILIP  
>And then down there, all the sets, facades,<br>and the usual cool little things we usually  
>see during the day have turned into a living<br>horror movie, courtesy of their top of the  
>line movie set quality.<p>

CHUCK  
>That's what seperates Halloween Fright Nights<br>from any other Halloween event - - it looks  
>real, feels real, sounds, smells and tastes<br>all real.

KRIS  
>Tastes?<p>

CHUCK  
>Sometimes things go squirting all over the<br>place. You know, things you're used to, Kris.  
>But it's just fake blood, so don't get too<br>excited or anything. Water to be exact. No  
>protein for you!<p>

KRIS  
>Pinche pendejo!<p>

PHILIP  
>But usually the Fright Tram, this year titled<br>"Stab Tram" based off the movie, is the story  
>of the event. It explains why all the monsters<br>are here in the first place. So it's important  
>to try and do it first.<p>

CHUCK  
>I'm really digging Philip's know-how of HFN.<br>You should become a apart of the fansite and  
>talk on the forums, we do speculation and - -<p>

PHILIP  
>No fuckin' way, Chuck.<p>

CHUCK  
>Well okay.<p>

CUT TO:  
>EXT. STAB TRAM - NIGHT<br>All the kids get settled in the tram, Chuck with a permanent smile slapped across his face. The TOUR GUIDE appears on the HD screens connected to the ceiling.

TOUR GUIDE  
>WELCOME my little dears to this year's<br>special edition of Fright Tram, aptly  
>titled STAB TRAM. That's right folks,<br>me and my driver here will be taking you  
>down to the infamous backlot of Sunrise<br>Studios where you will than exit the  
>tram and RUN FOR YOUR LIVES.<p>

The tram starts up and starts driving down the hill.

TOUR GUIDE  
>Wave goodbye to everyone in line because<br>this is the last time you'll ever see  
>any of them while you're alive!<p>

He does an evil laugh and the tram goes nuts. This is clearly something these people are used to but nowhere near love it as much as Chuck does.

TOUR GUIDE  
>Now let me give you a little history on<br>our studio: it was built in 1959 and it was  
>known all around town as "the little studio<br>that could." It started off producing B  
>science fiction movies and indie dramas.<br>It wasn't until the mid 70s though when  
>Sunrise became known for it's horror films,<br>produced by than mega producer, John Milton.

A feed comes on the screen: it's John Milton. Archive footage from 1999.

MILTON  
>The way I see it, horror movies are integral<br>to our very being. We want to go into a dark  
>room and jump, laugh and feel that rush in<br>our bones. We want to be scared but we want  
>to be safe while it happens so we choose the<br>movies. But what I want movies to do is to  
>give you that feeling that you're in the<br>movie. The feeling that if a masked murderer  
>is chasing our lead actress that you too are<br>being chased. My job is to make sure our  
>films have that impact on their audiences.<br>Either you're in the movie...  
>(chuckles)<br>... or we'll kill you trying.

TOUR GUIDE  
>(abruptly coming back on screen)<br>BOO! Haha!

His little "Boo" actually scares Tina. She just can't relax for the life of her.

TOUR GUIDE  
>(continuous)<br>And that wish of Milton's inspired us here at  
>Sunrise Studios and theme parks to do just that.<br>We want to put YOU in the movies. So now coming  
>up is our Woodsboro where we have famous movie<br>sets still up to this day where you can  
>walk around and be chased by the infamous<br>GHOSTFACE. It's 20 acres of horrors from  
>here on out while you get to walk around on<br>sets where all SEVEN of the Stab films have  
>been made at one point or another.<p>

The feed starts to break up. Everyone on the tram looks confused, including Chuck.

TOUR GUIDE  
>Okay, hold on, something is going on here.<br>Let me see if I can get the feed ba -

GHOSTFACE  
>Citizens of Woodsboro, may I have your<br>attention, please?

Ghostface appears on the screen, looking directly in the camera. He has compromised the tram! Tina squrims in her seat, feeling uneasy about the whole situation.

GHOSTFACE  
>I'll be your host, your - - ghost host. And<br>I have a proposition for all of you. Hasn't  
>it been too long that your little town has been<br>plagued with bad luck? Does it seem that the  
>teenage population is dwindling before your<br>very eyes? It almost seems year after year,  
>another HORRIBLE crime is committed, another<br>travesty occurs; another funeral, another memorial.  
>And tonight... it begins... ONCE MORE.<p>

Chuck nearly squeals in excitement. Everyone else in the tram is taking this as dead serious, especially Tina who is nearly crying.

GHOSTFACE  
>You want it all to stop? You want it all to<br>be SAFE?  
>(beat)<br>BRING ME SIDNEY PRESCOTT and not only will you  
>have my undying graditude, but you'll be ONE<br>MILLION dollars richer. Happy hunting.

Ghostface SLICES off the screen in a dash. The Tour Guide reappears, scrambling to make his feed work again.

TOUR GUIDE  
>(clearly acting)<br>Okay, uh... we don't know what that was. But um...  
>looking up ahead, it just looks like pure chaos<br>has erupted on the Woodsboro sets. I hate to make  
>you get off folks so we're gonna try to...<br>(to the driver)  
>What's that? Who doesn't want us to stop? What<br>are you talking abou - -

GHOSTFACE WALKS ONTO THE TRAM AND STABS THE TOUR GUIDE IN THE THROAT, BLOOD POURING EVERYWHERE.

TINA  
>Oh shit!<p>

GHOSTFACE  
>(grabbing the guide's microphone)<br>Get the hell off the tram, NOW!

EXT. SUNRISE STUDIOS BACKLOT - CONTINUOUS  
>The tram stops and the gates open, everyone pouring out and screaming into the set of Woodsboro - - a complete staged riot is taking place. The Tour Guide looks up with a grin as everyone is gone... he looks at Ghostface and gives him a high five then wipes off the blood on his neck off.<p>

TOUR GUIDE  
>Alright, let's go, let's pick up the next<br>one! Woo! I am pumped, baby! First night  
>of Fright Nights is off with a bang!<p>

Back to the Chuck and Co., now running and screaming through the streets of a mock Woodsboro with facades and police cars align the streets with bloody teenagers all around, completely cut open. Ghostfaces run through the streets, attacking numerous victims and plants in the audience that are really apart of the show with blood packets under their shirts.

CHUCK  
>Run, bitch! Runnnn!<p>

A clocktower is in flames, a dead body hung from it also in flames and squirming. The trees are decorated with teens - literally, skinned from head to toe and upside down, their blood dripping in a pool down below. A Ghostface grabs an audience plant and THROWS them into a fountain, STABBING mercilessly until blood gets into the circulation, causing the fountain to POUR RED.

Tina is completely freaking out, this is too real for her. Philip tries to drag her along but she can't take it anymore; she falls to her knees and covers her head. Philip stays behind while the rest continue on, they don't even notice she's gone in all the madness.

PHILIP  
>(bending down)<br>Tina! Tina! Look at me!

TINA  
>(sobbing)<br>Can we please leave?

PHILIP  
>Look, girl... none of this real? Okay?<br>Look...

He draws her attention to one of the audience plants being stabbed by a retractable blade. They fall to the ground, blood pouring out of them and remain motionless for a moment... then rise back up, running off into the bushes and out of sight.

PHILIP  
>It's all fake... it's all apart of the show.<p>

TINA  
>You sure?<p>

PHILIP  
>Yeah, c'mon baby girl. You got nothin' to<br>worry about. You rollin' with me.

Tina smiles assured and gets up proudly, linking onto Philip's arm. The environment suddenly changes for her now; it's no longer frightening or all too real - - it's fun and energetic. A patron runs by, screaming their lungs out as Ghostface whizzes by, chasing them into the crowd. Tina laughs; she finally gets it.


	2. THE OPENING: PART II: The Stab Maze

CUT TO:  
>INT. HOUSE - NIGHT<br>ANGLE behind a couch as two people sit in it, watching a horror movie. One is large while the other is skinny. The skinny one talks nonstop through the movie... their voice sounds familiar...

VOICE  
>Look at that shit, man, she got some big<br>ol' titties! I hope she makes it... I hope  
>to God she makes it... please make it...<br>AW, SHE GOT IT. She's done for, there ain't  
>no surviving that...<p>

A telephone rings next to the couch. We SPIN AROUND as they pick it up and answer. It's JAY from Jay and Silent Bob.

JAY  
>Hello?<p>

SILENT BOB sits next to him, into the horror movie before their very eyes. He gets pissed Jay is even talking on the phone so he walks out of the room.

GHOSTFACE  
>Hello Jay...<p>

JAY  
>Who's this? Dante? Da hell do you want?<p>

GHOSTFACE  
>Jay, has anyone ever told you, YOU TALK TOO<br>much?

JAY  
>(chuckles)<br>All the time, shiiiit. Example, I was with  
>this one girl the other day and I was about to<br>lay it down on her and I'm talkin' dirty in her  
>ear and everythang but she was actin' like she<br>wasn't feelin' it but I know she was so then I  
>pulled down my - -<p>

GHOSTFACE  
>I SWEAR TO GOD, if you say another WORD, I will<br>cut open that fat ass sitting next to you!

JAY  
>Who, lunchbox? Haha, I always joke around with<br>him sayin' if we ever get into a life or death  
>situation that I could cut him up like a tauntaun<br>from Empire Strikes Back and use his guts for  
>warmth.<p>

GHOSTFACE  
>What did I just say? Do you not CARE about<br>him?

JAY  
>Care like I care about Justice or care like I<br>care about the Quick Stop? This is two different  
>things, ya know?<p>

A KNIFE PLUNGES INTO HIS CHEST FROM BEHIND HIM. Jay looks down and drops the phone, he looks up at his killer - - Ghostface stands above him, his head tilting.

JAY  
>The *beep*, man?<p>

We can now hear a crowd mildly laugh. Ghostface unmasks - - it's Silent Bob.

SILENT BOB  
>I am trying to ask you a question and you<br>keep talking!

Jay keeps bleeding out the mouth, completely in shock.

SILENT BOB  
>Now could you please... pass the popcorn!<p>

Jay, trembling hands and all, reaches for the popcorn but he dies before being able to lift. He slouches over, knife still in his chest. Silent Bob sighs and grabs the popcorn himself. He sits down, eating it jolly and continues watching the movie. The picture fades out - "Stab 4. Footage courtesy of Sunrise Studios. Now available on DVD and Blu Ray. To get a call from Ghostface while you wait in line, text 'CALL ME' to (818) 555-6053 now!

EXT. STAB MAZE QUEUE - NIGHT  
>The crowd cheers at the clip and another one starts to loop on. Practically everyone looks down in their phones and starts dialing the number, EVEN TINA.<p>

CHUCK  
>I told you this was fun, Tina!<p>

TINA  
>You were right, Chuck.<p>

PHILIP  
>You ready for this one? This is a maze,<br>it's a little different from the Stab Tram!  
>It's more up close and personal and real!<p>

TINA  
>Eh, bring it.<p>

CARL  
>Oooooh, look at Tina gettin' all cocky all<br>of a sudden! She ain't scared of nothin'  
>apparently no more!<p>

TINA  
>Yeah, I got more balls than you, Carl. That's<br>right, I saw you hiding behind Kris when  
>Ghostface came after you.<p>

The entire line goes "OOOOOOOOOOH!" Even Carl smiles and has to laugh at himself.

CARL  
>Nah, nah, I was just tryin' to protect her<br>from behind, I didn't see that guy comin'.

TINA  
>Uh huh, right, right.<p>

CHUCK  
>It's alright, Carlos, you're little bitch,<br>we've all accepted it.

CARL  
>It's CARL, DAMMIT!<p>

TINA  
>So wait, I'm confused, I thought the Ghostface<br>costumes stopped being produced or whatever?

CHUCK  
>Oh, they were! After the last incident about<br>four years ago, the entire town of Woodsboro  
>got together and put in a lawsuit with the<br>production company. Usually they would've  
>lost but they had another costume that was<br>getting more popular at the time that had to  
>do with pirates so they let Ghostface slide.<br>Also, Sunrise Studios had to stop making Stab  
>films because there were starting to be too<br>many complaints of "profiting from other's  
>misfortune" or whatever, stopping the Stab<br>remake from being made.

PHILIP  
>And that was the end of Ghostface.<p>

KRIS  
>They can stop Ghostface costumes but not<br>cigarette companies? Which one kills more?  
>You decide!<p>

Tina chuckles at Kris but then thinks about it all even further.

TINA  
>So then how is this all happening here now?<p>

CHUCK  
>Well Sunrise was only stopped from making<br>films that are distributed all around the world  
>from being made on Stab since it was supposedly<br>creating so many different murderers. But  
>Sunrise put their heads together and thought of<br>way to keep making profit from their beloved  
>franchise. And that came to it's conception,<br>HERE, at Halloween Fright Nights! And they have  
>their own factory for costumes so they can make 'em<br>so that's how that's covered but after the event,  
>they all have to be destroyed.<p>

PHILIP  
>You spend way too much time on those forums...<p>

CHUCK  
>Hey, it started a conversation, didn't it?<p>

KRIS  
>Sh, I'm getting a phone call.<p>

Kris takes out her phone and puts it on speaker phone.

KRIS  
>Hello?<p>

GHOSTFACE  
>Do you wanna DIE tonight?<p>

KRIS  
>Oh yes, Mr. Ghostface, I'm really looking<br>forward to meeting you.

GHOSTFACE  
>What's your favorite scary movie?<p>

KRIS  
>Stab!<p>

GHOSTFACE  
>Ohhhh... that one's scary... who are you<br>with?

KRIS  
>Well I'm here with my boyfriend, Carl and<br>my friends Chuck, his sister Tina and her  
>semi-date, Philip.<p>

GHOSTFACE  
>What's your favorite scary movie?<p>

KRIS  
>I already told you... Stab...<p>

GHOSTFACE  
>Ohhhh... that one's scary... who are you<br>with?

CHUCK  
>Uh... apparently they have some bugs they're<br>still dealing with.

Kris hangs up the phone and they reach the facade of the maze - - it's the movie theater from Stab 2! The giant green hand plunging down a knife rises up and down towards the crowd below. Tina watches, the feeling of uneasiness comes over her again.

PHILIP  
>You excited?<p>

TINA  
>(sarcastic)<br>Ecstatic...

PHILIP  
>I'm tellin' ya, mazes are a different beast...<p>

The line moderator at the front lets them through and they head on in. Chuck jumps up and down, huge smile on his face.

INT. STAB MAZE - THEATER LOBBY - CONTINUOUS  
>Chuck &amp; Co. make their way in, the setting is casual. Nothing out of the ordinary yet. The path pushes them towards the auditorium door. GHOSTFACE POPS OUT OF THE CLOSET, a strobe light effect accompanying it. Tina holds onto Philip as the rest laugh their way through. He goes back in the closet, ready to reset for the next group.<p>

TINA  
>Oh my God, this is too intense!<p>

PHILIP  
>Told you!<p>

INT. STAB MAZE - THEATER AUDITORIUM - CONTINUOUS  
>They enter the auditorium and a blinding strobe light flickers in their eyes as they make their way down the ramp of the theater. Immobile Ghostfaces align the side seats. ONE JUMPS UP, SCREAMING at our heroes. Tina just laughs it off, this isn't even scary anymore - - it's fun. The ramp leads up to the screen and they go within, ending up in now - -<p>

INT. STAB MAZE - CASEY BECKER'S FRONT YARD - CONTINUOUS  
>The scene is the gruesome aftermath, Casey Becker hanging from the tree. We can hear a loop of her mother screaming in the background over and over again. GHOSTFACE POPS OUT behind the tree, giving everyone a startle. They all laugh and keep going.<p>

INT. STAB MAZE - STU MACHER'S GARAGE - CONTINUOUS  
>The infamous Tatum in the doggy door scene is occurring. They all walk by, amazed by the lifelike doll trapped. An idle Ghostface stands by the button, pushing it up and down... it's a distraction. TATUM SPRINGS TO LIFE, PLEADING TOWARDS THEM, blood (water) gushing out of her head. Chuck offers a fake lending hand and she reaches out for it. He then pulls away and runs off on to the next scene.<p>

Tina's phone rings; she stops for a moment and looks down as they head passed Ghostface into Stu's living room.

TINA  
>Hey guys, hold on a second.<p>

They can't hear her under the loud soundtrack and continue on. The Ghostface by the door jumps forward, scaring them into the house. Tina rolls her eyes and passes by the Ghostface, flipping him off. Ghostface slowly turns it's head and watches Tina exit the room.

INT. STAB MAZE - STU'S LIVING ROOM - CONTINUOUS  
>Tina enters, phone to her ear, ready to answer... but she can't find her friends. She sighs and looks off to the side... an exit door. She exits through and stands on the outside of the maze, it's a complete different atmosphere of the backstage scene. She puts her foot against the exit door, holding it open just in case she decides to go back in.<p>

TINA  
>(finally answering)<br>Hello?

GHOSTFACE  
>HELLO, TINA.<p>

TINA  
>Oh wow, haha, that's really good. Did you<br>have to look in the phone records and plug  
>in my name for that one?<p>

GHOSTFACE  
>No... I just had to watch you for awhile to<br>find out... that's all...

TINA  
>(starting to get creeped out)<br>Oh... well hey, you're doing a good job of  
>scaring me but uh, you're a little late.<br>Ya see, I'm already in your maze so I'm  
>gonna go back in there now - -<p>

GHOSTFACE  
>DON'T YOU DARE HANG UP ON ME!<p>

TINA  
>Okay, nice try... bye.<p>

Tina hangs up... a GHOSTFACE RUSHES TOWARDS HER. She pins herself against the side of the maze... he passes right by her and enters the maze, screaming about how he's late. Tina sighs and laughs at herself a little... then enters back in.

She heads down the corridor of the hallway, "Halloween" can be heard playing in the room next over.

TINA  
>Chuck? Philip! Where the hell are you?<br>I told you to wait up...

She spots a security guard in the corner, monitoring the flow of the maze. She walks up to him, the music building suspense to such a mundane moment.

TINA  
>Hi, excuse me, have you seen my friends?<br>A tall white guy with a bandana and like  
>three Mexican people...<p>

MAZE SECURITY  
>Girl, that's everyone that comes through<br>here. If you're lost, you can go out that  
>'emerg. exit' right there but if you wanna meet<br>them by the main exit as they're coming out,  
>go back to the Casey Becker scene.<p>

TINA  
>Okay, thanks...<p>

Tina heads back around... TEENS JUMP THROUGH FROM THE LAST SCENE and run passed Tina, going down the hall. Tina catches her breath and goes back...

INT. STAB MAZE - STU'S GARAGE - CONTINUOUS  
>Tina enters, the infamous garage door still in motiong going up and down with the live actress harnessed in. Tina's phone rings again; it's Kris.<p>

TINA  
>Hey, Kris, I'm heading for the exit right now.<br>I'll meet you guys there.

GHOSTFACE  
>This isn't Kris...<p>

TINA  
>Real funny, Chuck, I'll see you in a bit...<p>

GHOSTFACE  
>Not Chuck either...<p>

INT. STAB MAZE - CASEY BECKER'S FRONT YARD - CONTINUOUS  
>Tina enters and continues on, looking for the 'exit' sign. She's not playing Ghostface's game.<p>

TINA  
>Okay, well, whoever this is, I'll be hanging<br>out by the exit.

GHOSTFACE  
>You should see who's hanging out by the<br>tree...

Tina stops for a moment and looks on at the tree... it seems different. The mannequin is a bit taller, different hair - brown to be exact instead of the usual short blonde... she spins around the tree - IT'S KRIS, COMPLETELY HALLOWED OUT. Tina jumps back and falls into a set of fake bushes.

A group of teens pass by, laughing at the display of Casey Becker. One of them comments, "Casey wasn't Mexican!" Tina can't even say a word, she's completely horrified.

GHOSTFACE  
>Great likeness of her, huh? It's just so<br>REAL.

TINA  
>Stop it, this isn't fucking funny!<p>

GHOSTFACE  
>Oh, yes it is, Tina... it's all one... SIDE<br>SPLITTING JOKE!

GHOSTFACE POPS OUT FROM THE WINDOW BEHIND HER AND TRIES TO GRAB HER. Tina runs for her life and books back to the auditorium.

INT. STAB MAZE - THEATER AUDITORIUM - CONTINUOUS  
>Tina runs in, in a complete panic. A couple of teens watch her go by, jumping back startled because of her and then laugh it off like it's apart of the act.<p>

TINA  
>Don't go in there! There's a killer in there!<p>

She runs on - - A GHOSTFACE POPS UP FROM HIS SEAT. Tina stops in her tracks and books it across the room off to the side.

FAKE GHOSTFACE  
>Where you going? The maze is back that way!<p>

Tina enters a random door and suddenly she's - -

INT. STAB MAZE - WINDSOR COLLEGE - CONTINUOUS  
>A giant facade of Windsor College stands in the middle of the room. Tina backs up into a large white van - - THE DOOR SLIDES OPEN. She looks in - - CARL LAYS INSIDE, A BLOODY MESS AND STABBED TO DEATH.<p>

TINA  
>Oh my God, Carlos!<p>

She stumbles back and almost into the bushes - - A HAND PULLS HER BACK COVERING HER MOUTH. It's Philip!

PHILIP  
>(whispering)<br>Tina, it's me, just shut up!

TINA  
>(whispering)<br>What the fuck is going on?

PHILIP  
>We need to get out of here, RIGHT NOW!<p>

TINA  
>I don't know what to do, I'm freaking the<br>fuck out!

PHILIP  
>Just follow me, c'mon!<p>

Philip grabs Tina's hand and they BOOK IT OUT OF THE BUSHES AND HEAD FOR THE NEXT ROOM.

INT. STAB MAZE - PROP ROOM - CONTINUOUS  
>They find theirselves now in the prop room from Stab 3. Multiple Ghostface's align the sides of the room on a coat rack. They stop and immediately realize this is a bad idea. There's an 'emerg. exit' at the far end of the room.<p>

TINA  
>Oh my God, oh my God - -<p>

PHILIP  
>Okay, just relax! We're gonna do this, okay?<br>We're gonna run! I'll be right in front of  
>you, holding your hand!<p>

TINA  
>I don't think I can do this! I don't think<br>I can - -

PHILIP  
>Just hang on!<p>

PHILIP GRABS HER AND THEY HEAD FOR THE DOOR. GHOSTFACE POPS OUT, BRANDISHING THEIR BLADE AND SLICE FOR PHILIP. He DUCKS and it SLAMS INTO TINA'S ARM. She falls back onto the ground, bleeding. Philip turns Ghostface around and PUNCHES HIM IN THE FACE. Ghostface RETURNS THE FAVOR and on Philip's next punch, STABS HIM DIRECTLY IN THE KNUCKLE. Ghostface turns Philip around and kicks him in the back, throwing him to the ground. GHOSTFACE KNEELS DOWN AND STABS PHILIP BETWEEN HIS SHOULDER BLADES.

Tina crawls backwards to try and exit the room but can't look away at the carnage happening to Philip. GHOSTFACE RIPS DOWN PHILIP'S BACK, SLICING HIM OPEN THROUGH THE BACK OF HIS RIB CAGE. GHOSTFACE TURNS AROUND AND BEGINS CHASE AFTER TINA. Chuck starts to come around the corner...

CHUCK  
>Where the fuck did everybody go, I'm just<br>running through here by myself and shit - -

Chuck turns around the corner and sees Philip's dead body. His eyes open wide, Ghostface looks back at him. Chuck begins to run - - BUT SLIPS ON PHILIP'S BLOOD, SMASHING HIS HEAD ONTO THE GROUND, KNOCKING HIM OUT COLD. Ghostface tilts his head in a "that was easy fashion" and continues chase with Tina.

INT. STAB MAZE - WINDSOR COLLEGE - CONTINUOUS  
>Tina holds her shoulder in pain, trying to run back out. GHOSTFACE IS ON HER HEELS. A few teens watch the action go down, CHEERING HIM ON. GHOSTFACE SLICES HIS BLADE INTO HER BACK AND THROWS HER TO THE GROUND. The kids go WILD and keep going into the next room. Ghostface turns her over and she pleads woefully, the look of such sadness in her eyes... Ghostface watches her, almost like a soft pity... THEN HE RAISES HIS BLADE - - AND STABS MERCILESSLY.<p>

Tina's body nearly bounces off the ground from the blows of the knife, blood spitting out of her mouth. Ghostface looks up and DISAPPEARS INTO THE BUSHES. The next group of teens come by and look down at Tina's dying body. They cover their mouths and from Tina's fading POV, all she can hear is "that looks so real, this is awesome!"

She tries to get up, her body bleeding profusely. The teens run off into the next room as if they scared her, laughing nearly. Tina begins to crawl and makes her way back into the next room, leaving a trail of blood behind her...

CUT TO:  
>EXT. STAB MAZE QUEUE - NIGHT<br>Tina walks out of the maze, crying her eyes out and bloody from head to toe. Everyone in the line for the maze watches her - - some not sure of how to react, some laughing and some completely horrified. She looks at them all and gets to the most open point of the area. She looks around at everyone walking by her... this moment is almost too surreal. SHE LETS OUT A BLOOD CURDLING SCREAM and everyone STOPS, SILENT. She falls to her knees, her eyes open wide in terror as tears still pour from her eyes - - AND FALLS FORWARD TO THE GROUND ON HER FACE. DEAD. SILENCE as everyone looks on and her body lays in the middle of the floor in the center of the SHOT for a good 5 or so seconds, letting the moment sink in.

TITLE SCREEN:  
>THE KNIFE RIPS THROUGH THE SCREEN, STARTLING FROM THE PREVIOUS SILENCE.<br>"SCREAM 6" pushes towards the screen in daunting fashion.


	3. Married, On Set, Fertility Clinic & JSR

FADE IN:  
>EXT. COURTYARD - DAY<br>Subtitle: 8 HOURS EARLIER  
>A CRANE SHOT FROM ABOVE LOOKING DOWN at the festivities. "I Just Called to Say I Love You" is being sung by an uber cheesy WEDDING SINGER. Everything is decorated in white and everyone is dressed nicely for the occasion. In the middle of it all, a crowd erupts in a round of applause as a COUPLE splits between them and heads for a table - - IT'S SIDNEY PRESCOTT AND MARK KINCAID, HAPPY and TOGETHER, dressed as MAN AND WIFE.<p>

They sit down at the table where there's DEWEY RILEY and GALE WEATHERS-RILEY, sitting with KIRBY REED (now back to short hair) and ROY POPPER, having drinks and enjoying the occasion.

SIDNEY  
>Sorry, we're barely getting to you!<p>

GALE  
>Oh, don't worry, honey.<p>

DEWEY  
>(squinting)<br>It's your day, Sid.

SIDNEY  
>(clutches Mark's hand)<br>16 years in the making.

MARK  
>And dozens upon dozens... after that.<p>

They kiss. The four at the table clap for them. Kirby throws in the air a small handful of rice - - for fun.

SIDNEY  
>(gesturing to Kirby)<br>Soon to be someone else's day coming up  
>real soon...<p>

Kirby blushes and Roy throws his arm around her.

MARK  
>When is that again?<p>

KIRBY  
>In two months.<p>

ROY  
>Beginning of December.<p>

KIRBY  
>And then my name will be Kirby Popper... which<br>I'm sure sounds like a porn star name... but  
>hey, the things you do for the people you love!<p>

Gale looks over at the Wedding Singer, really getting into the chorus of the song.

GALE  
>Is anyone else seeing the irony of this song...?<p>

They stop and listen for a bit longer.

DEWEY  
>I'll go tell him to switch it.<p>

Dewey gets up and heads over to the stage. From behind, ROGER KINCAID, Mark's father and seriously ancient at the age of 85, comes from behind.

ROGER  
>My son, marrying a beautiful woman.<p>

Sidney gets up, trying not to be rude and Mark along with her.

SIDNEY  
>Thank you, Mr. Kincaid.<p>

ROGER  
>How many times do I have to tell you?<br>Please call me Roger! We're family now.  
>(to Mark)<br>Son, may I have a dance with the lovely  
>bride?<p>

MARK  
>(laughs)<br>Just bring her home before 10, dad.

ROGER  
>(coy smile)<br>No promises!

Roger takes Sidney's hand and they go into the crowd, the song turning into something much slower. Mark watches his father and his wife slow dance together, enjoying the moment while it lasts.

MARK  
>(turning to Kirby)<br>Told you she'd be mine.

ROY  
>And anticipation for the honeymoon begins!<p>

GALE  
>Oh, been there!<p>

KIRBY  
>Where'd you guys go on yours?<p>

GALE  
>(gritting her teeth)<br>Acapulco.

KIRBY  
>Must've been exciting...<p>

GALE  
>(downs her margarita)<br>You have no idea.

MARK  
>Well, we're sticking with the traditional. Hawaii.<br>It's really cheap this time of year. And then  
>right after, we're moving to Washington.<p>

GALE  
>We're gonna miss you guys being out here,<br>only an hour or two drive away from Woodsboro.

MARK  
>I'll miss it out here too... nothing like the<br>city... I know Sidney hasn't been a big fan  
>of it but... I promised her we'd move away<br>from the madness once the wedding came and gone.  
>It'll be hard for me to move away; this is<br>where I grew up. Plus leaving my dad behind.

GALE  
>Why doesn't he just go with you?<p>

MARK  
>(shaking his head)<br>He wouldn't allow it. He doesn't like to  
>think he's an old man.<p>

Now ANGLE ON Sidney and Roger, slow dancing together. Sidney looks over at Mark and smiles.

ROGER  
>If my boy ever gives you any trouble...<p>

SIDNEY  
>Oh, don't you worry, I got him under control.<p>

ROGER  
>Well I know there were problems in the past...<p>

SIDNEY  
>Nothing that couldn't be handled...<p>

ROGER  
>When Mark was younger, his mother and I, we<br>used to fight alot. And I got in quite a bit  
>of trouble with other women and then I got<br>older and realized when it was too late that  
>it wasn't worth it.<p>

SIDNEY  
>You don't have to explain anything.<p>

ROGER  
>Well Sidney, I would like to. He grew up<br>without parents... I wasn't around often and  
>neither was his mother... he lived in a tough<br>neighborhood. He grew up strong, as you can  
>see and he enjoyed himself but... he's<br>protective for a reason.

SIDNEY  
>Like I said, you don't have to explain.<p>

ROGER  
>Sometimes I wish I could take it all back...<br>his mother really wanted to see this moment,  
>ya know? She was looking forward to the first<br>time you two attempted this...

SIDNEY  
>(feeling guilty)<br>I'm really sorry, I - - had no idea.

ROGER  
>No worries, Sidney... all is well and that's<br>what matters. You're happy aren't you?

SIDNEY  
>(beaming)<br>Yes.

ROGER  
>Well lemme tell ya... it's been a really long<br>time since I've seen Mark happy... he always  
>has that serious look on his face.<p>

They both laugh.

ROGER  
>Any chance for grandchildren anytime soon?<p>

SIDNEY  
>It's really iffy at this moment.<p>

ROGER  
>Well if you can, I am on old man...<br>(smiles)  
>I can't live forever, now...<p>

The song ends and they stop dancing.

SIDNEY  
>Thanks for the dance, Roger.<p>

ROGER  
>I'll see you at home later before you two<br>leave.

She kisses him on the cheek and she returns to the table. As she returns, Gale and Dewey are getting up from the table.

DEWEY  
>C'mon Gale, we have that appointment...<p>

SIDNEY  
>Oh, sounds mysterious.<p>

GALE  
>(hugging Sidney)<br>Fingers crossed, everything will go well  
>and we'll be able to tell you all about it.<p>

DEWEY  
>(hugs Sid after Gale)<br>We'll see ya, Sid. We'll come back to help  
>you pack.<p>

SIDNEY  
>Drive safe.<p>

Kirby sits up in her chair.

KIRBY  
>We actually gotta get going too. They need<br>me on set.

MARK  
>They need you? They never need the writer!<p>

KIRBY  
>(chuckles)<br>On this set, they do.  
>(hugs Sidney and Mark)<br>I'll see you guys soon.

Roy hugs Sidney and handshakes with Kincaid.

ROY  
>Enjoy your honeymoon. You'll be getting<br>that invite in the mail soon.

MARK  
>We'll look forward to it.<p>

Mark and Sidney are now alone at the table now. They look each other in the eyes and come closer together for a kiss.

MARK  
>Mrs. Kincaid.<p>

SIDNEY  
>My prince charming...<p>

They kiss...

CUT TO:  
>EXT. SUNRISE STUDIOS BACKLOT - DAY<br>"Movielike" by Jimmy Eat World blasts on the speakers, helping ease the transition. Kirby enters the backlot in her convertible (she's ditched her SUV for something more Hollywood-friendly). She parks in HER spot in front of soundstage 18.

INT. KITCHEN SET - DAY  
>CASSANDRA POE, early 30s and stunning with long jet black hair washes dishes in the kitchen. She stares out the window, pondering as she sets each dish aside in a dish holder. NILEY ENTERS THE ROOM. They both speak in a southern accent.<p>

NILEY  
>Momma's been gone for quite a mean while.<p>

CASSANDRA  
>She ain't never comin' back, Mora. Never<br>expect her to.

NILEY  
>If momma loves us like she said she loves us<br>than surely, she'll come back. Surely!

CASSANDRA  
>(slams the plate, breaking it)<br>Momma never gave a rat's behind about neither  
>of us! All she cares about is her whiskey and<br>rich men! You got that?

Niley's eyes tear up and she looks down.

NILEY  
>(in a rhythm)<br>Boom, chi, boom, boom, chi, boom, boom.

Cassandra looks off to the side and we ANGLE ON a film crew with ACKERMAN, the director, watch the scene play out. Niley continues and Cassandra looks back at her, disgusted. Kirby watches, wide eyed.

NILEY  
>Momma loves us!<p>

CASSANDRA  
>(breaking character)<br>What the hell are you doing?

ACKERMAN  
>CUT!<p>

NILEY  
>Did I do something wrong?<p>

CASSANDRA  
>Are you kidding me? You blew the take with<br>your gag reel nonsense! UGH.

Cassandra storms off and the director chases after her.

CASSANDRA  
>I am a SERIOUS actress!<p>

ACKERMAN  
>Someone talk to Niley! Cassandra, please!<br>Come back!

Kirby runs over to Niley, who still seems lost and oblivious.

KIRBY  
>Sweetie, what was that?<p>

Niley  
>(holding up the pages)<br>The script says "beat." See...?

KIRBY  
>No Niley, it means like... a minor pause.<p>

NILEY  
>... than why doesn't it just say "a minor<br>pause?" Stupid screenwriters these days, they  
>don't get anything right! They rehash the same<br>old material: it's the 1-2-3 formula of boy  
>meets girl, boy has something odd and mysterious<br>about him that's unnecessarily dramatic for the  
>sake of bringing the tears and then boy loses<br>girl over unnecessary drama crap and boy gains  
>girl back and than there's always that kissing<br>scene in the raaaain - -

KIRBY  
>Niley, I wrote this screenplay...<p>

NILEY  
>I know... and that was my subtle way of<br>criticizing you. But hey! Big news, I got  
>accepted into a college finally!<br>(applauds herself)  
>Yayyyy.<p>

KIRBY  
>Ohhh, that's great, Niles, which one?<p>

NILEY  
>(nods and blinks blankely)<br>Woodsboro Community College.

KIRBY  
>... that's a community college, Niley, everyone<br>gets in.

NILEY  
>Silly Kirby, if that were true, they wouldn't<br>have an "apply" section. I mean, keyword here  
>is "apply", you know, like when you apply for<br>a job?

KIRBY  
>(eyes widen)<br>Oh, I know.

NILEY  
>Otherwise it would just say, "come oooon<br>doooooooown."

KIRBY  
>You know what? You're absolutely right.<br>Congratulations.

NILEY  
>Thank yooou! I was gonna go check it out<br>after the shoot today.

They head over to the catering table.

KIRBY  
>You're gonna go to Woodsboro?<p>

NILEY  
>Yeah and I'm gonna meet up with my boyfriend<br>and we're gonna go to a party tonight.

KIRBY  
>Niley, you're 22 years old, isn't dating<br>high school boys passed your time now?

NILEY  
>Not as long as I bring 'em home by eleven...<br>I'm just kidding, he's 18...  
>(nervous laughs)<br>Sorta...

KIRBY  
>(stares blankly at that comment then sighs)<br>Well I have to meet this guy eventually.  
>I don't want him to pop up two months from<br>now at my wedding and I have no idea who  
>he is.<p>

NILEY  
>Well hey, wanna come to the party tonight?<br>You can meet him there!

KIRBY  
>Where's it at?<p>

NILEY  
>(looks at a text on her phone)<br>261 Turner Lane.

The soundtrack thumps and Kirby slowly turns to Niley.

KIRBY  
>Did you say... 261 Turner Lane?<p>

NILEY  
>Yeah, it's gonna be a pretty weird party.<br>It's like half Halloween so there might be  
>some costumes, we're not sure yet.<p>

KIRBY  
>Niley, you can't go to that party...<p>

NILEY  
>(maybe a bit too offended for no reason)<br>Well, why not? !

KIRBY  
>That's Stu Macher's old house...<p>

NILEY  
>So?<p>

KIRBY  
>Meaning... I forbid you from going to one<br>of the houses of the killers that started  
>this whole thing in the first place which<br>lead to me being stabbed twice and almost  
>having to shoot Sidney in the head!<p>

NILEY  
>(holds up her hand, showing her scar)<br>Hey! I got hurt too, remember? And I got  
>shot in the chest... so don't act like<br>you're the only one here who's been a victim  
>of all this.<br>(beat)  
>The murders are over, Kirby. I'll be fine<br>at that house. So do YOU want to come, or not?

KIRBY  
>(beat)<br>You're right, Niley, I'm sorry, I didn't... but  
>actually, no, Roy has some wedding crap he wants<br>me to look at. It's gonna be a long night as is.

NILEY  
>That's sweet, Kirby. He understands that<br>you're busy so he handles it.

KIRBY  
>No Niley... he WANTS to do it. It's FREAKY.<p>

NILEY  
>Wow... that's love, bro...<p>

KIRBY  
>What did we say about calling me "bro?" I'm<br>a girl...

NILEY  
>Sorry... I forgot.<p>

KIRBY  
>You forgot not to call me that or you forgot<br>I was a girl? I know I have short hair now  
>but seriously, should I grow it back out?<p>

NILEY  
>I like this version of Kirby better.<p>

KIRBY  
>Anyway, remember what I told you about beats? 'K?<p>

NILEY  
>(nods innocently)<br>Okay.

KIRBY  
>And for the love of God, the next time the<br>director says "hug the wall a bit more,"  
>he doesn't actually mean, hug the wall!<p>

NILEY  
>Yeah, I knew that one sounded a bit silly...<p>

KIRBY  
>(sighs)<br>Okay... I have to go talk to Cassandra  
>since you pissed her off with your beat<br>boxing session so I'll be right back.  
>Practice your blocking and hitting your<br>marks.

Kirby walks off and Niley stands there. A crewman walks by and Niley punches him in the shoulder.

CREWMAN  
>Ow! What was that about? !<p>

NILEY  
>Isn't your name Mark?<p>

CREWMAN  
>No!<p>

NILEY  
>Sorry than!<p>

She waits for him to go but he stands there still, mouth agape from being punched. Her eyes shift from uncomfortably.

NILEY  
>(shoeing him away)<br>Carry on!

INT. SUNRISE STUDIOS BACKLOT - TRAILER PARK - DAY  
>Kirby exits the soundstage and heads for the trailers. Ackerman whizzes by, huffing and puffing.<p>

ACKERMAN  
>You better go talk to her! That was your<br>girl in there!

Kirby sighs and stops at Cassandra's trailer and knocks. Cassandra swings the door open and pulls Kirby in.

INT. CASSANDRA'S TRAILER  
>Cassandra stands back a little, giving Kirby room then sits down at her table.<p>

CASSANDRA  
>Kirbiline, how many movies have you written?<p>

KIRBY  
>Produced, non-produced or grand total?<p>

CASSANDRA  
>(rolls her eyes)<br>PRODUCED.

KIRBY  
>Well my first movie comes out in two months<br>and so that would make this my second. Oh,  
>and I'm in negotiations with MTV on a pilot.<p>

CASSANDRA  
>Two movies... wow. Pretty good for a 22 year<br>old, screenwriting prodigy. And Niley, how many  
>movies has she acted in?<p>

KIRBY  
>(thinking of a lie)<br>... four?

CASSANDRA  
>(slams her hand down)<br>None, Kirby! None! I IMDb'd her right now!  
>Nothing! You teamed me up with a nobody!<br>She hasn't done shit, not even a dog food  
>commercial or a call girl line that's only available<br>in Canada or something! I did both of those!  
>Not to mention, an extra in soft core, Skinemax porn!<br>I worked my way up! I'm in my early thirties  
>and this is my 43rd film! How'd she get in this<br>50 million dollar budget movie?

KIRBY  
>She has great presence.<p>

CASSANDRA  
>Oh, that's rich... yeah, she's a fucking<br>moron. Fire her, or I quit and you have to  
>find yourself another lead actress for this<br>"Southern Belle" piece of shit movie. Psh,  
>I should fire my agent, I'm not even partly<br>American...

KIRBY  
>Look, it's her first time and it's the<br>first week. Give her some time to warm up  
>to the idea of it all. Ackerman wouldn't<br>have put her in the movie if he didn't see  
>something in her.<p>

CASSANDRA  
>Like his penis?<br>(odd beat)  
>You're executive producer, Kirby, let's<br>face facts; you pulled some strings. And  
>now I want you to cut them. Get her the<br>fuck off my set and hire me another actress  
>to work with! I don't have TIME for this shit,<br>for mistakes on God knows what! I wanna go  
>home early and get my back massage from my<br>personal spa assistants. You know how awesome  
>it is to have personal spa assistants?<p>

KIRBY  
>How about this? I tell her to get some - -<p>

CASSANDRA  
>It's FUCKING awesome, that's how awesome it is.<p>

KIRBY  
>- - get some acting lessons, she learns the<br>basics and if you don't see results in the  
>next week, she's canned. Okay?<p>

CASSANDRA  
>I'm trusting you, Kirby.<p>

KIRBY  
>(sighs)<br>Thank you.

CASSANDRA  
>And do some re-writes. I want a bit more<br>dialogue in the scene where we - -  
>(Southern accent)<br>- - find out that poor momma died.  
>(chuckles)<br>What a joke.

Kirby holds back her anger and opens the trailer door. GHOSTFACE STANDS THERE. Kirby jumps back and stumbles, falling into the wall.

CASSANDRA  
>What the fuck, Kirby? You're breaking my RV.<p>

A man turns around and he sees Kirby on the ground - - he's holding a hanging Ghostface costume decoration. He gives a quick "sorry" and runs off.

KIRBY  
>Nothing, just... Halloween Fright Nights props.<p>

CASSANDRA  
>Isn't it funny? You get attacked by a serial<br>killer in a Ghostface costume TWICE... they can't  
>make anymore movies out of it and four years<br>later, they just materialize it into life,  
>duplicating him by the hundreds at the place<br>where you work... wow, I wonder who set that up...

KIRBY  
>It's in poor taste, I agree.<p>

CASSANDRA  
>Especially with the third murders happening here<br>in 2000... which reminds me, where's my body guard...?

KIRBY  
>That's actually incorrect. Only one person<br>was murdered in Sunrise Studios and that was  
>in the bungalows which have since been destroyed.<br>I believe they put the Dinosaur ride there,  
>as a matter of - -<p>

CASSANDRA  
>Why are you still talking? Re-writes. Go!<p>

Kirby exits without saying "bye." She closes the door behind her and leans on the door, looking at all the crew men walk by with Ghostface related memorabilia, headed up to the theme park up the lot.

KIRBY  
>(to herself)<br>Welcome to my Hell.

We CRANE UPWARDS and see nothing but a sea of BLACK walking off into the distance as Kirby tries to dodge them and heads back into the soundstage, the music rising HIGH AND WE - -

CUT TO:  
>INT. FERTILITY CLINIC - DAY<br>Gale and Dewey sit in chairs staring at a wall with the picture of a fetus inside the embryo. Dewey squints and tilts his head, trying to understand what he's looking at. The doctor enters the room with a file and sits down behind his desk. This is DR. MONTGOMERY.

DR. MONTGOMERY  
>Hello, Mr. and Mrs. Riley, how are we doing today?<p>

GALE  
>Good. We just got back from a wedding.<p>

DEWEY  
>She didn't need to know that.<p>

GALE  
>Dewey, be polite.<p>

DEWEY  
>(nervous leg shaking)<br>Sorry, Dr. Montgomery, I've been really  
>rattled lately. Just... nervous about the<br>results.

DR. MONTGOMERY  
>I understand. The men always are. Let's get<br>to it than, shall we?  
>(opens the file)<br>We tested your sperm and everything checks  
>out, Dwight. Your swimmers are at a normal<br>speed and you have plentiful of them.

GALE  
>So what does that mean?<p>

DR. MONTGOMERY  
>The problem is your eggs. It's not easy<br>trying to have a baby at your age, Mrs. Riley.

Dewey shakes his head, trying to hide behind his wife and signal to Dr. Montgomery to stop talking.

GALE  
>Excuse me?<p>

Dewey puts his hands together and pleads. Gale sees him out the corner of her eye and smacks him with her purse.

DR. MONTGOMERY  
>It's just... having children at your age<br>is difficult. With menopause coming so soon - -

Dewey facepalms himself.

GALE  
>Whoa, whoa... menopause? Look, I'm not old<br>enough for that yet.

DR. MONTGOMERY  
>Well, I wouldn't know, it's just with the age<br>range, it would make sense considering - -

GALE  
>Hold on... how old do you think I am?<p>

DR. MONTGOMERY  
>I'm just going by what's in the file, Mrs. Riley.<p>

GALE  
>Let me see that damn thing!<p>

She hands Gale the folder and Gale flips it open. She looks at it for a moment, sighs and looks over at Dewey then back at Dr. Montgomery, unsure of what to say. She then throws it across the room in a rage and instantly collects herself.

GALE  
>So what do we do?<p>

DR. MONTGOMERY  
>Just keep trying. Or you can try a surrogate?<p>

GALE  
>There's no WAY my husband's sperm is going in<br>someone else's body!

DR. MONTGOMERY  
>It's for the sake of birthing a new child of<br>your own, Mrs. Riley.

GALE  
>(still upset about her age)<br>Please call me Gale now...

DR. MONTGOMERY  
>Gale... there are some experiments we can do<br>but like I said at your - - with your condition,  
>it'll be a bit harder. And honestly, even a<br>bit dangerous. You can die birthing a child.  
>There's so many complications waiting this - -<br>at this moment.

GALE  
>Gotcha.<p>

DR. MONTGOMERY  
>Have you considered adoption just in case?<p>

GALE  
>I guess we can talk about it, right, sweetie?<p>

DEWEY  
>Of course.<p>

DR. MONTGOMERY  
>But rest assured, I am the best fertility<br>doctor in all of California. If there is  
>something that CAN be done, I will weed it<br>out from all the possibilities. So make no  
>mistake, you did come to the right place.<p>

Dr. Montgomery smiles and exits, leaving Dewey and Gale alone.

DEWEY  
>So what do you wanna do?<p>

GALE  
>Oh, don't act so damn happy, you're just glad<br>this isn't your fault!

Gale storms out.

DEWEY  
>What did I even - - nevermind.<p>

CUT TO:  
>EXT. WINDSOR COLLEGE - DAY<br>Establishing shot of Windsor College. Not a single thing has changed.

ROY (O.S.)  
>And we're live on "Just Sayin' Radio," I am<br>your host Roy Popper being accompanied here  
>by my dear old friend Mr. Lennon - -<p>

LENNON HOWLS.

INT. SOUND ROOM - DAY  
>The room looks oddly familiar. We PAN around getting a glimpse of the settings; Roy in his chair at his desk with Lennon stuck being a glass cage. Now also joining them is TERRI SANCHEZ, the replacement for Mona as the provocative voice girl. On the other side of the soundproof glass is Roy's advisers, MALLORY FOX (mid twenties, very professional looking for her again) &amp; NICK SEEDS (a bit older, and a bit of a micro manager about every aspect around him), watching with a smile as the show continues.<p>

ROY  
>And also here with my lovely co-host, Terri<br>Sanchez.

TERRI  
>Good evening, Roy, it's nice to be here as<br>always.

ROY  
>And as always, it's nice to have you.<p>

LENNON  
>Oh God, yes...<p>

ROY  
>Movie announcements; once again, I wanna<br>remind everyone that my beautiful and  
>talented fiancee, Kirby Reed, has her film<br>coming out in just two short months so  
>everybody be on the lookout for "Walking<br>With Gorillas." I know it sounds like a  
>weird documentary of some sort but I promise<br>you, it's not, it's a very funny romantic  
>comedy. Check it out in December, I'll<br>give you the exact release date when I can.  
>Also happening in December, the wedding<br>bells are chiming for your host. Sorry  
>ladies but Roy Popper will officially be<br>off the market.

Nick gives Roy a "hurry along signal" from behind the glass.

ROY  
>And I'll give you more about that in just<br>a second because we're gonna start the  
>rockin' right now with Ida Maria's new<br>smash single. Stay tuned.

Roy flicks the "off air" switch and gets up, walking over to the next room. He enters to Mallory and Nick standing there, proud as can be.

NICK  
>Really good show, Roy, we still love it.<p>

MALLORY  
>We love you, we love your guests, your<br>hosts, your music, the talks - - the whole  
>package.<p>

NICK  
>But you have to remember that having advertisement<br>deals means we have to plug those a bit harder.

ROY  
>Okay, that's fine. What did you want me<br>to do exactly?

MALLORY  
>Well, we're giving away tickets to Halloween<br>Fright Nights tonight so after the song,  
>think you can have some callers call in?<p>

ROY  
>(beat)<br>About that...

NICK  
>We understand - - you might not be comfortable<br>with this and we know how long your road  
>back behind the booth was. But this is our<br>first sponsor since we've been picked up by  
>advertisements and we wanna make them happy.<p>

MALLORY  
>Just one night, 5 tickets and hell, in about<br>two months, we can pick and choose which ads  
>we want on our show but at the moment, we<br>need the money and it's not exactly our choice.

ROY  
>Yeah, well... everyone loves "Stab," I guess.<br>A "Stab" themed Halloween Fright Nights would  
>be "choice" for the college kids here.<p>

MALLORY  
>Definitely. And we say that with complete<br>respect to you and your fiancee's former  
>situations you've been involved in.<p>

ROY  
>(nods but a little displeased)<br>I'll get to it.

Roy enters back into the radio booth and throws his headphones on. Terri gives him a look.

TERRI  
>What's wrong?<p>

ROY  
>Nothing. We're going back on.<p>

Roy flicks the "on air" switch back on.

ROY  
>Alright ladies and gentleman, I know this<br>is BIG news for all of you and as many of  
>you may know, Halloween Fright Nights<br>starts tonight at Sunrise Studios! And  
>guess which local radio station in town<br>is giving away 5 tickets? That's right...  
>US. Be the 7th caller, that's 7 as in<br>how many "Stab" movies there are and you  
>will WIN tickets to the event you were<br>probably already planning on going to!  
>It is now 4 PM in the afternoon, the event<br>starts in 3 short hours & tonight is opening  
>night. You won't wanna miss it folks.<p>

Roy's voice starts to break. Mallory and Nick tense behind the glass. Roy tries his best to collect himself.

ROY  
>So, uh... 7th caller... starting now.<br>(beat)  
>We'll be right back.<p>

Terri looks on Roy, trying to figure him out. Roy flicks the "off air" switch and sits there for a moment, immobile. He stares on, trying to gather himself.

TERRI  
>Roy?<p>

He doesn't respond... he still looks on... a soft whisper of "How many more lives are you going to be responsible for?" echos in his head...

LENNON  
>ROY!<p>

Roy snaps out of it.

ROY  
>Yeah? Sorry... just thinkin'... sorry.<p>

Roy takes off the headphones and walks out of the room.

INT. RADIO CENTER'S BATHROOM - CONTINUOUS  
>Roy washes his face in the sink and looks up at the mirror, drying his face off with a paper towel. The door opens off to the side and in comes Terri.<p>

TERRI  
>Hey Roy.<p>

ROY  
>Terri... this is the boy's bathroom.<p>

TERRI  
>I know but I just... wanted to see if you<br>were okay.

ROY  
>I'm fine. Thanks.<p>

Terri slowly approaches and leans against the sink, her cleavage nearly bursting out of her shirt. Roy tries his best to not look.

TERRI  
>I just wanted to thank you for giving me<br>this opportunity. I'm really thankful.

ROY  
>(nervous)<br>No problem... you really shine on the air  
>and you seem to have a growing fan base.<p>

TERRI  
>Really? How would you know?<br>(starts twirling her hair)  
>Or are you just a fan?<p>

ROY  
>The-the-there's forums, that talk about our<br>show. One is completely dedicated to you  
>and your voice.<p>

TERRI  
>(stands up and puts her hand on her hip)<br>Oh yeah? What do they say?

ROY  
>They say it's sensual and sexy, fun to listen<br>to and that your conversations with me are  
>very - - cool.<p>

TERRI  
>(bites her bottom lip and tilts her head)<br>Is that what you think?

Roy is ready to lose his mind.

ROY  
>I think you're great.<p>

Roy hurriedly rushes out of the bathroom before she can say another word. Terri stands there for a moment and looks into the mirror, fixing her lip gloss. "Terriiiii" whispers through the vent... she looks back... and exits through the door.


	4. Niley's Sorority Offer & Her Boyfriend

INT. WINDSOR HALLS - DAY  
>Niley walks down the hallway, bouncing side to side. She finds entertainment that her ponytail is bouncing side to side as well. She approaches the "radio hall" and turns the corner. SHE BUMPS INTO A GIRL and she drops her books. Niley immediately kneels down to help. The girl, NESSA MYERS, 19 with much pep and a usual brunette college girl beauty, bends down to help Niley pick up her own books.<p>

NESSA  
>I'm so sorry, I wasn't looking.<p>

NILEY  
>(handing Nessa her last book)<br>It's okay!  
>(they stand up)<br>Hey, where's the radio center place or whatever?

NESSA  
>(points to the sign)<br>You're headed in the right direction.

NILEY  
>(smiles big)<br>Thanks!

Niley continues walking and Nessa pulls out her phone, immediately dialing a number.

NESSA  
>Lois? I think I found a candidate.<br>(waits)  
>You know that girl from Woodsboro who tricked<br>the killer into thinking she was dead from  
>four years ago and is starring in that movie<br>with Cassandra Poe coming out next year? Well  
>I just bumped into her.<br>(waits)  
>She'll fill the red hair &amp; popularity quota,<br>that's for sure. I didn't know she went to  
>Windsor though...<br>(waits)  
>Okay, I'll talk to her.<p>

INT. RADIO BOOTH - CONTINUOUS  
>Niley enters the Radio Station and looks around. Lennon and Terri talk off to the side as Roy is packing up his stuff.<p>

ROY  
>I'll be there in a sec, Niles.<p>

NILEY  
>Okaaaaay.<p>

INT. WINDSOR HALLWAYS - CONTINUOUS  
>Roy throws his backpack over his shoulder as he and Niley walk out of the room and down the hallway.<p>

NILEY  
>My boyfriend doesn't get off work until seven<br>so thank you for coming with me to WCC.

ROY  
>No problem. How was Kirby doing?<p>

NILEY  
>She's good. I was finished with my shooting<br>but I think they have a few more scenes for  
>today left.<p>

Nessa leans on the wall, waiting for them to pass.

NESSA  
>Hello again.<p>

NILEY  
>(as if they're good friends already)<br>Hiiii.

NESSA  
>Hey, can I talk to you for a second?<p>

NILEY  
>(stops)<br>Sure.

NESSA  
>My name is Nessa. Nessa Myers. I'm apart<br>of a sorority. We're Omega Beta Zeta and we  
>could use a girl JUST like you in the house.<p>

NILEY  
>I don't attend here, sorry.<p>

NESSA  
>Well... would you like to?<p>

NILEY  
>Well I've applied but I never got accepted.<br>I was actually on my way to Woodsboro Community  
>College.<p>

NESSA  
>Ugh, WCC? You don't wanna go there, trust me.<br>I'm sure Roy can vouch that Windsor College is  
>the place to be, right?<p>

ROY  
>(eyes shift)<br>Sure.

NESSA  
>And don't worry about the application process.<br>We have a lot of sisters in the house with a  
>lot of connections. You'll be attending here<br>by the Winter semester for sure.

NILEY  
>Really? It's that easy? Just join your frat?<p>

NESSA  
>SORORITY.<p>

ROY  
>It's worth a shot, Niley.<p>

NILEY  
>This has nothing to do with my semi-fame, right?<p>

NESSA  
>Whatever do you mean?<p>

NILEY  
>Being apart of the Ghostface Radio Murders and<br>starring in an upcoming film?

NESSA  
>I had no idea...<br>(beat)  
>We're having a party soon. You should<br>come by. Give me a call.

Nessa grabs Niley's phone and enters her own number in it.

NESSA  
>I'll also put the house number in your phone.<br>Remember, my name is Nessa. When you call,  
>ask for House Mother Lois or Murphy. And<br>tell 'em Nessa referred you. They'll give  
>you more details.<p>

Nessa starts to walk away.

NILEY  
>Well wait... what's so special about me?<p>

NESSA  
>(keeps walking and smiles)<br>I think you know. See ya.

CUT TO:  
>INT. WINDSOR CAFETERIA - DAY<br>Niley and Roy place food on their trays, making their way along the buffet-style line. Niley has an entire MOUNTAIN of food on her tray. They sit down in the middle at an empty table. "I Think I Love You" can be heard coming from a radio in the background.

NILEY  
>(bites into a muffin)<br>So do you think I should do it?

ROY  
>Join a sorority? As long as you record the<br>half naked pillow fights...

NILEY  
>(stops chewing and eyes open wide)<br>I'm telling.

ROY  
>You know I'm kidding. And you know, Windsor<br>would be a lot better than Woodboro C.C..  
>Windsor also has a really great drama<br>department.

NILEY  
>Yeahhhh... Kirby said I need acting classes.<br>So that's another upside...

ROY  
>Film and theater are two different beasts.<br>Completely different levels on the acting  
>spectrum. One is more open and broad,<br>over exaggerated and big movements and  
>film is just the simplicity. If anything,<br>honestly, I think acting classes would  
>ruin you. It's better if you don't know<br>all the techniques and such. Just read  
>the script, understand it and bam!<p>

NILEY  
>But Roy, I don't know any of the terminology.<br>It's like, the set is the only place I go  
>to daily that makes me feel like an idiot.<p>

ROY  
>Really... that's the only place?<p>

NILEY  
>I'm good at WATCHING movies, not knowing<br>all the details about the behind the scene  
>stuff... well, I also think I could use some<br>acting pointers too as a side thing.  
>(bites into a chicken nugget)<br>Plus the food here is amazing!

ROY  
>Do it than.<p>

NILEY  
>Alright than... I'm gonna do it!<p>

Takes a huge bite out of a burrito. Roy goes into his pocket and takes out a ring box. The food literally drops out of Niley's mouth.

ROY  
>What do you think?<p>

NILEY  
>I think you're marrying my best friend<br>and that you shouldn't be doing this right now!

ROY  
>(smiles at her simpleness)<br>No, Niley, this is the wedding bands for  
>Kirby and I's wedding.<p>

NILEY  
>Oh... well they're pretty.<p>

ROY  
>The engagement ring is too late to take back<br>but the wedding bands I still have some time  
>on. Just wanted to make sure it was the<br>best one or if I should find something else  
>that would better match the engagement ring.<p>

NILEY  
>Roy, she'll love it. You have no idea how<br>much you've helped her out through everything.  
>You could give her a plastic one and she'll<br>wear it for the rest of her life with pride.

ROY  
>(sighs)<br>How did I get so lucky?

NILEY  
>I don't know but I'd be happy to be my<br>friend, too...

Roy just blinks and goes back to eating. Behind them, a guy JUMPS UP in victory, "YES!" Accompanying it, immediately right after is - -

CHUCK  
>NO!<br>(throws his phone down)  
>Sorry guys, we didn't win. Guess we're<br>gonna have to pay to get into HFN.

We're now at Chuck's lunch table with Chuck, Kris and Philip.

KRIS  
>(patting his hand)<br>It's okay, Chuck, it's okay.

CHUCK  
>I bet if I go talk to Roy over there, he<br>can convince Terri & Lennon to get me some tickets.

KRIS  
>Don't go bug them, please. That's embarrassing.<br>Especially when he's with a movie star.

CHUCK  
>She's not a movie star - - yet! And c'mon,<br>we used to talk to them both back in high  
>school.<p>

KRIS  
>BACK before they got all famous. They probably<br>don't even remember us now.

PHILIP  
>(busy texting)<br>Hey Chuck, you think you can invite your  
>sis for me? I tried but she's not budging.<p>

CHUCK  
>Oh, I can make her come. I got my ways.<p>

KRIS  
>Well don't make her think it's like a double<br>date thing or else she won't wanna go because  
>then she'll do that whole "but Chuck will be<br>the fifth wheel" crap.

CHUCK  
>Hm. Maybe if I tell her there'll be a<br>Twilight maze?

PHILIP  
>Oh God... that actually IS frightening...<p>

KRIS  
>Sparkling vampires, teenage angst... sounds<br>like my graduation party all over again.

Chuck flashes her a "what?" look.

CUT TO:  
>INT. AIRPORT TERMINAL - NIGHT<br>Sidney and Mark wait in the waiting area for their gate. Mark's phone rings and he quickly answers.

MARK  
>Everything okay, dad?<p>

INT. MARK'S APARTMENT - CONTINUOUS  
>Roger fumbles between the three different remote controls in his hand. We cut back and forth between the conversations.<p>

ROGER  
>Oh, everything is great but uh... which<br>one is the TV remote? I don't understand  
>these damn things...<p>

MARK  
>It's the black one. You like your room?<p>

ROGER  
>Oh, it's great, it's great. I'll need<br>you to send me a fax or something about  
>this elaborate security system again though...<p>

MARK  
>I'll text you the instructions.<p>

ROGER  
>I have arthritis, what makes you think I<br>want to text?

MARK  
>(chuckles)<br>Sorry, I'll send you an email.

ROGER  
>(smiles)<br>You two kids didn't waste any time to leave.  
>Wedding in the morning, on the plane by night.<p>

MARK  
>Well we don't like waiting. I'll call you<br>when we land.

ROGER  
>Okay, son... I love you.<p>

MARK  
>(beat)<br>I love you, too, dad...

ROGER  
>Bye, son.<p>

Mark hangs up and Sidney looks at him.

SIDNEY  
>Everything okay?<p>

MARK  
>Everything's fine. You ready for this five<br>hour plane ride over an ocean?

SIDNEY  
>(rests her head on his shoulder)<br>Don't remind me about the ocean part...  
>just wake me when we land in Waikiki...<p>

MARK  
>You don't wanna share a headset with me<br>and watch a movie on the plane?

SIDNEY  
>No, it's okay. I need some rest. It's<br>been a busy day.

MARK  
>Get it in now, tonight is gonna get crazy.<p>

SIDNEY  
>Be appropriate.<p>

MARK  
>No, seriously... I'm just forewarning you.<p>

SIDNEY  
>(chuckles)<br>I know what it's like, Mark.

MARK  
>Not on the wedding day, you don't.<p>

Mark smiles big and looks down at Sidney's head, kissing her cheek.

ANNOUNCEMENT (O.S.)  
>Gate 12 is now ready for boarding. Flight<br>180 to Waikiki from LAX at Gate 12 is now  
>boarding. Thank you. We will be taking<br>first class first. Economy, please hold.

MARK  
>C'mon, my love. That's us.<p>

SIDNEY  
>I was just starting to make friends with<br>your shoulder...

MARK  
>You can sleep on the plane. C'mon.<p>

Mark helps her up and they grab their luggage, heading for the plane.

CUT TO:  
>INT. KIRBY'S APARTMENT - DOORWAY - NIGHT<br>Kirby enters her home, the alarm beeping; she quickly turns it off and sets her purse on the stand by the door. She can hear the TV in the other room playing. Her place is new agey - - mostly glass and art that's up to date. Out the window, the Los Angeles skyline can be seen.

INT. KIRBY'S APARTMENT - LIVING ROOM - CONTINUOUS  
>Roy sits at the couch, watching an episode of Conan. Bridal magazines are spread across the table. He laughs along with the show. Kirby enters, completely exhausted and flops into Roy's lap. Roy pauses the TV.<p>

ROY  
>Whoa, baby. Flopping fish alert, will ya?<p>

KIRBY  
>I'm so exhausted. Cassandra was on my ass<br>about Niley.

ROY  
>So I heard. What'd she do anyway, she never<br>told me?

KIRBY  
>She beatboxed when in the script, as direction,<br>it said "beat."

ROY  
>Wow... I don't know if that's really funny<br>or sadly pathetic...

Kirby slaps Roy's arm.

KIRBY  
>You be nice!<p>

ROY  
>I am nice! I love Niley.<p>

KIRBY  
>(gets comfortable in his arms)<br>So what ridiculous crap do you want me to  
>approve today? Hurry, I'm falling asleep<br>as we speak.

ROY  
>Well just some floral arrangements.<p>

KIRBY  
>(slipping into unconsciousness)<br>Oh... how awesome...

He moves the hair out of her face and pecks her on the nose.

ROY  
>It can wait until the morning though...<p>

KIRBY  
>(barely making sense)<br>Good... I'm too tired...

Her head slunches over. And she's out. Roy goes ahead and unpauses the TV.

ROY  
>48 seconds. That's a new record.<p>

CUT TO:  
>EXT. COUNTRY SIDE ROAD - NIGHT<br>Niley's car ZOOMS passed the screen. Soho's "Whisper to a Scream" blasts out of her speakers.

INT. NILEY'S CAR - CONTINUOUS  
>Niley drives, singing along to the song. In the passenger seat is RJ, her boyfriend. He's handsome but with a nerdy flair. It's safe to say he's not the most popular kid but he has plenty of friends. They're both wearing matching costumes of Bonnie &amp; Clyde.<p>

NILEY  
>RJ, grab me my lipgloss from my purse, will ya?<p>

RJ  
>Sure thing, hon'.<p>

RJ grabs her purse from the backseat and hands her her lipgloss. She looks in the mirror and starts applying it. RJ feels a bit uneasy with her attention not being drawn to the windy road.

RJ  
>Niley, the road.<p>

NILEY  
>Hey, Kirby says she wants to meet you. Do<br>you have any free time any time soon?

RJ  
>Yeah, sure, sure. Niley, the road.<p>

NILEY  
>Oh, I see it, no worries. But seriously,<br>you know how she is. She gets all security  
>mother on me.<p>

RJ  
>I'll do anything you want!<p>

Niley focuses back on the road.

NILEY  
>She just wants to make sure you're not a<br>killer or anything...  
>(looks at RJ, whispers)<br>You're not a killer, are you?

RJ  
>(stepping on his invisible brake)<br>I feel like I'm about to actually be killed  
>if anything...<p>

NILEY  
>(looks back at the road)<br>Geez, relax! I got this!

EXT. 261 TURNER LANE - CONTINUOUS  
>Niley's car drives on to the property. The house is already in full swing for the party and the front is filled with cars. Niley parks and RJ pokes his head out the window.<p>

NILEY  
>You ready, baby?<br>(whispers)  
>It's about to get NUTS in there!<p>

Niley gives RJ a devilish grin and winks then exits the car. The music tenses up for a moment... and RJ exits from the car as well. THE SCREEN GOES TO BLACK and the SOUNDTRACK THUDS.


	5. Stu Macher's House Revisited

CUT TO:  
>EXT. 261 TURNER LANE - NIGHT<br>The screen THRIVES back to life, via the soundtrack of "The Wolf" by Fever Ray (/ watch?v=v1mWEGJhpcs). Everything and everyone comes to a SLOW MOTION as the events take place, the music timed with the actions on screen (time cards found within the parentheses).

(0:00 - 0:43) Niley and RJ approach the house, people waving and interacting with them along the way. The house seems as intimidating as ever, dressed from head to toe in Halloween directions. RJ has a small look of discomfort, the house towering over him as he gets closer to it. They reach the door and are handed two masquerade masks, which they then put on to blend in with everyone else, all just in different costumes.

(0:44 - 1:01) The moment Niley walks in... someone is watching her from within the crowd... someone who's eyes we can only see... All the teens participate in drinking games; slamming down their shot glasses, keg stands, beer funnels, the works. Everyone around is getting pretty wasted. Niley is handed a beer from the guy at the keg, as is RJ. She sips on it for a moment and looks across the room. A mysterious but tantalizing man stares at her in such way that's nearly calling her forward.

(1:02 - 1:17) The man slowly starts to make his way to her, Niley feeling almost powerless. He stops at her and grabs her by the waist and pulls her into the crowd, RJ taking her beer from her. RJ tries to act cool like he knows what's going on, but he has no clue...

(1:18 - 1:37)  
>The Masked Man then DIPS Niley and pulls her slowly back up, his hand slowly caressing up the side of her thigh. You can see it in her eyes - - she's not only turned on by this man, she's under his spell. They continue to dance, slow and sensual. He draws his lips towards her neck and then against her cheek - - but he never touches her skin. Niley bites her lip, trying not to let her knees buckle.<p>

(1:38 - 1:53)  
>RJ still stands there, with a very "uhhhh..." look on his face. Niley continues dancing with the Masked Man and she rubs her hand down the side of his face. Their chests connect, her legs nearly locking around him.<p>

(1:54 - 3:02)

MASKED MAN  
>Come with me...<p>

NILEY  
>Where?<p>

MASKED MAN  
>Upstairs...<p>

NILEY  
>I can't do that.<p>

MASKED MAN  
>I want you... now.<p>

NILEY  
>(shivers but keeps herself under control)<br>My date's here.

MASKED MAN  
>He'll never know... he doesn't need to know...<p>

NILEY  
>(beat)<br>Let me see your face.

MASKED MAN  
>Only if you come...<p>

NILEY  
>Do you know my face?<p>

MASKED MAN  
>I've watched you, Niley... I have for a long<br>time. I know your face probably better than  
>you know your own.<p>

NILEY  
>Right...<p>

MASKED MAN  
>I know your scent... your feel... your touch...<br>your flesh must be so... delicious...

NILEY  
>(whispers in his ear)<br>Creep.

Niley pushes the man off her and starts heading back. He grabs her and forces back into his grasp.

MASKED MAN  
>Than I shall see you some other time.<p>

NILEY  
>Don't count on it.<p>

MASKED MAN  
>I - ALWAYS - WIN. And I... can have you<br>so easy... it'll make you sick.

NILEY  
>Good thing I'm immune. Fuck off.<p>

Niley breaks away once again. The Masked Man looks across the room to another person in mask, unrecognizable standing behind RJ. The Masked Man nods and the man behind RJ - - slips something into Niley's drink without noticing.

(3:03)  
>Niley returns to RJ, who's trying his best not to foam from the mouth in complete jealousy, and takes her drink. The Masked Man is now GONE within the crowd. The song begins to fade out. RJ tries to find the right words to say.<p>

RJ  
>So... who's your friend?<p>

NILEY  
>Just some guy.<br>(realizes RJ isn't comforted)  
>Gay guy I met in dance class. He's good, no?<p>

RJ  
>Oh, he's - - he's good alright.<p>

Niley goes to sip her drink - - and then a hand comes onto her arm. Niley turns to ALLISON, 17 with light brown hair and still sees the world as mostly sunshine from her church girl mentality.

ALLISON  
>Niley! Nice to see you!<p>

NILEY  
>Allison, is that you?<p>

Allison lifts up her mask to reveal her green eyes and than puts it back down.

ALLISON  
>I could spot you anywhere with that red<br>hair of yours, girl.

NILEY  
>Thanks, I guess. So how's your brother<br>and sister? I think I saw Chuck at Windsor  
>today. Didn't he like graduate 3 years ago?<p>

ALLISON  
>(chuckles)<br>Chuck and Tina are fine. They're at that  
>Halloween thing tonight. I would've gone<br>but... I promised I'd come to this party  
>for my friend.<p>

NILEY  
>Your friend?<p>

ALLISON  
>That fella you were just dancing with.<br>Everett Vancastle. I didn't know you two  
>knew each other.<p>

NILEY  
>We don't but... apparently he knows me.<p>

RJ is now overhearing the contradictory statement in comparison to what she just told him.

ALLISON  
>Well yeah, he rents this house out from<br>the owner every year for October and every  
>year he has a party.<p>

NILEY  
>(gesturing to RJ)<br>Oh, well I was invited by my friend here...

RJ  
>Hi. RJ. Friend.<p>

ALLISON  
>Allison.<p>

NILEY  
>I'm sorry, I meant to say boyfriend.<p>

RJ  
>Did you?<p>

ALLISON  
>(breaking the awkward moment)<br>So I saw on the internet that you're going  
>to be in a movie soon! What's that like?<p>

NILEY  
>Interesting to say the least. Cassandra<br>Poe is a character.

ALLISON  
>Oh my God, I love her. She's amazing!<br>What is she TRULY like in person?

NILEY  
>(lying for the sake of business)<br>Full of... hot air balloon energy. She's  
>just as captivating eye to eye as she is<br>on screen. You would love her.

ALLISON  
>Wow, well I'll have to keep an eye out for<br>it when it hits theaters.

NILEY  
>Cheer when you see my name on the screen!<p>

ALLISON  
>Sure thing. Anyway, see ya.<p>

Allison puts down her drink to hug Niley and Niley does the same - - they're sat next to each other.

ALLISON  
>Nice to meet you, RJ.<p>

Allison walks off, accidentally grabbing NILEY'S DRINK. RJ totally looks uncomfortable. Niley takes a sip of beer and looks at RJ.

NILEY  
>Loosen up!<p>

RJ  
>Um... can we leave?<p>

NILEY  
>We just got here...<p>

RJ  
>I know but I wanna go home now.<p>

NILEY  
>Is everything okay?<p>

RJ  
>Yeah, just take me home, Niley.<p>

NILEY  
>(takes another sip)<br>Okay. Let's go.

EXT. 261 TURNER LANE - CONTINUOUS  
>Niley and RJ walk out of the house, RJ trailing in front of her. Off from the side comes PEYTON, a frat boy from Windsor with a smug look on his face who really has no business being there. He grabs Niley from the side and tries to kiss her neck, clearly drunk. She SLAPS him and pushes him off.<p>

PEYTON  
>Aw, why you gotta do that to me, Niley?<p>

NILEY  
>Fuck off, Peyton. What are you doing here<br>anyway? You're in college!

PEYTON  
>I could say the same for you and your jailbait<br>bitch boyfriend of yours.

RJ gets in the car, he doesn't say anything.

NILEY  
>I was invited. Take your statutory ass<br>somewhere else.

PEYTON  
>When you gonna realize, Niley, that you<br>want me? Huh?

Niley continues walking to her car. On the ground, in the dirt, she sees something. A white card, size of an index card, with black drawing on it. She bends down and picks it up, IT'S GHOSTFACE. She flips it over and there's a scramble of letters & numbers on the back. She quickly stands up and looks around to see who could've dropped it. She enters the car, weary.

CUT TO:  
>INT. HAWAII AIRPORT - NIGHT<br>Sidney and Mark make their way out into the airport terminal, exhausted from their 5 hour flight. A girl stands off to the side, giving everyone a lei as they come through. They both get one and smile, happy to be there in "paradise."

MARK  
>Look at that, laid already.<p>

Sidney smacks Mark's stomach.

SIDNEY  
>If anything, I just need a bed now.<p>

MARK  
>Wanna take a cab to the hotel and I can grab<br>the bags?

SIDNEY  
>You sure?<p>

MARK  
>I'll be fine. It'll probably be awhile<br>anyway. Check us in, leave a hotel key for  
>me at the desk and I'll meet you in bed.<p>

SIDNEY  
>But ONLY for sleep.<p>

MARK  
>I wouldn't dream of anything else.<p>

They kiss and depart ways as Mark makes his way to baggage claim.

CUT TO:  
>INT. NILEY'S CAR - NIGHT<br>Niley drives forward, eyes on the road and they both sit in complete silence. She tries to look at him but he only stares out the window, trying his best not to explode.

NILEY  
>I'm sorry about what that guy said back there.<br>That was really manly of you not to just...  
>walk over there and punch him.<p>

RJ  
>I can control myself...<p>

NILEY  
>I know, I'm really proud of you. Other guys,<br>it would've been POW! and they're headed off  
>to jail for the night.<p>

RJ  
>Like who, your dancing partner?<p>

NILEY  
>What's that supposed to mean?<p>

RJ  
>You know what I mean.<p>

NILEY  
>Is that why you're mad? Because I danced<br>with some guy?

RJ  
>Because you danced with some guy and it looked<br>like he could've easily had his way with you.

NILEY  
>I told you, he's gay.<p>

RJ  
>And then right after, you told Allison you<br>didn't know him... so which one is the truth?

NILEY  
>(sighs)<br>Okay, I don't know him but I just didn't want  
>you to worry about nothing. The guy was a<br>creep anyway. And he didn't have his way with  
>me obviously because I pushed him away.<p>

RJ  
>(beat)<br>Whatever.

NILEY  
>RJ, it's not like we've been together for years<br>or anything either. We're brand new and just  
>starting, we're still having fun. Was it so<br>wrong?

RJ  
>Maybe I'm just different. Maybe I believe in<br>something else.

NILEY  
>Okay, I'm sorry, I won't do it again.<br>(beat)  
>Okay? Don't be mad at me...<p>

RJ  
>(sighs)<br>Okay. It's hard to stay mad at you.

RJ sees the Ghostface card next to Niley's lap. He picks it up.

RJ  
>What's this?<p>

NILEY  
>I don't know, it has a code on the back<br>though.

RJ  
>I think it's a meme.<p>

NILEY  
>What's that?<p>

RJ  
>It's like a picture that holds some type of<br>cultural significance. The way it's painted  
>with the black on white and the code on the<br>back must mean something. Usually it's like  
>a following.<p>

NILEY  
>Well I'm gonna show it to Kirby so just hang<br>tight onto it.

CUT TO:  
>INT. 261 TURNER LANE - MASTER BEDROOM - NIGHT<br>Allison and Everett FALL INTO frame and onto the bed, both tired and exhausted. The house is quiet now, the party must be over. Allison doesn't necessarily seem like she's all there but Everett is completely aware.

ALLISON  
>Wow... what took you so long?<p>

EVERETTE  
>What do you mean?<p>

ALLISON  
>4 years of high school and finally you<br>notice me in THAT way? Oh God, it was  
>amazing.<p>

Everette gets up, pulling up his pants.

ALLISON  
>Where you going?<p>

EVERETTE  
>(beat)<br>I have to return some videos.

He walks out of the room. "Wha?" she thinks and then her head falls face first into the pillow. The light from the hall suddenly dims and a figure stands before. She opens her eyes slightly and can see a dark figure with a white face peering down at her.

ALLISON  
>Everett, what are you doing?<p>

The figure comes closer, IT'S GHOSTFACE. But this isn't any regular Ghostface - - the mask is worn out, cracked and old with the black cloack ripped all over. ZOMBIE GHOSTFACE LUNGES TOWARDS HER and Allison topples out of the bed from fright.

ALLISON  
>This isn't fucking funny!<p>

From her POV, the entire situation is blurry. She can barely see straight.

ALLISON  
>Everett! Can you hear me? Is that you?<p>

Zombie tilts their head and BRANDISHES A BLADE. Allison quickly jumps up and back over the bed and out of the room, Zombie making chase.

INT. UPSTAIRS TERRACE  
>She screams and runs across the hallway towards the stairs. She looks back to see if he's still pursuing her - - BAM. She's smack dab in front of ANOTHER GHOSTFACE. Her face is complete shock and horror... her eyes start to tilt down, noticing instead of the traditional black cloak, this Ghostface is wearing a white sheet - - now splattered with her own blood. BLOODRED GHOSTFACE SLIDES THE KNIFE OUT OF HER STOMACH.<p>

She stumbles back right into Zombie, who then STABS HER IN THE BACK. Allison is so terrified she can't even scream. Bloodred tilts their head watching the action. Zombie grunts, pulling the knife out of her. Allison stumbles to the ground and Zombie & Bloodred stand over her. Out of another room comes another dark figure, dressed in brown. Allison looks up, trying to plead with whatever ounce of breath is in her lungs.

The figure kneels down and comes into a view - - A SCARECROW STYLE GHOSTFACE. Scarecrow lifts her up to her feet and STABS HER IN THE STOMACH while the other two watch. Allison falls back and leans on the railing. All three now slowly approach her. In unison, they raise their blades. The trio reflects in Allison's dying eyes, trying to catch her last breath. THEY SLICE DOWN INTO HER CHEST and we - -

CUT TO:  
>INT. HAWAII HOTEL HALLWAY - NIGHT<br>Kincaid makes his way down the hallway, pulling the bags on the roller. His cellphone rings and he stops before his room. He quickly answers it.

MARK  
>Wallace, you know I'm on my honeymoon.<p>

WALLACE (O.S.)  
>Mark... there's been another murder.<p>

The soundtrack stings.

MARK  
>What?<p>

INT. SUNRISE STUDIOS THEME PARK - STAB MAZE QUEUE - NIGHT  
>DETECTIVE WALLACE, Mark's partner from the 2000 Sunrise Studios murders, stands in front of the Stab maze, a bit greyer than before when we first saw him. We switch back and forth between the conversation.<p>

WALLACE  
>At Sunrise Studios Theme Park. Four teens,<br>one is injured and in a coma. "Stab" style  
>murders.<p>

Mark is horrified. He walks away from the door.

MARK  
>Okay, um... what else do we know?<p>

WALLACE  
>Other than it ain't pretty? Jack and shit.<br>The entire theme park was crawling with  
>Ghostface costumes. There'd be no way to<br>tell who did what. Questioning would take  
>hours but I'll get started on it.<p>

MARK  
>(beat)<br>Okay, I'll be there tomorrow.

WALLACE  
>Is Sidney next to you?<p>

MARK  
>No, I just got to the hotel. She's sleeping.<p>

WALLACE  
>She's gonna be mad the honeymoon is over<br>so quickly.

MARK  
>You kidding me? She's staying here. Out<br>of sight.

WALLACE  
>You sure that's the best idea?<p>

MARK  
>It's the only one I got. Wallace, do me a<br>favor and call Kirbiline Reed. Let her know  
>she may be in danger.<p>

WALLACE  
>May be? This happened at her place of<br>occupancy, I would say she is.

MARK  
>We don't know that yet. Now I'm gonna explain<br>it all to Sid and I'll be there as soon as I  
>can.<p>

Mark hangs up and walks back to his room, entering. The room is nice, an ocean view. Sidney sleeps quietly in bed, Mark contemplating how to break the news to her.

CUT TO:  
>INT. RILEY'S MASTER BEDROOM - MORNING<br>Dewey's phone rings. Gale squirms in bed, trying to stay asleep. Dewey can't even hear it. Gale slaps him across the chest and he wakes up.

DEWEY  
>Wha? What is it?<br>(hears the phone and answers)  
>Hello?<br>(waits... THEN JUMPS OUT OF BED)  
>Are you sure it's 261 Turner Lane?<p>

Gale slowly starts to wake up herself.

GALE  
>Dewey? What's going on?<p>

DEWEY  
>(hangs up)<br>Shit!  
>(looks at Gale, sadness in his eyes)<br>I need to go to Stu Macher's old place.

Dewey wastes no time and immediately throws on his pants.

GALE  
>Dewey! What's happening?<br>(beat)  
>Dewey, talk to me!<p>

Dewey finally stops and tries to slow down as best as he can.

DEWEY  
>There's been a murder there.<p>

GALE  
>Okay?<p>

DEWEY  
>And at Sunrise Studios.<p>

The soundtrack thumps. Dewey immediately jumps into the bathroom to finish getting ready?

GALE  
>Where's Kirby?<p>

DEWEY  
>I'm gonna get a hold of her. You get dressed,<br>I'm not leaving you here alone.

Gale immediately jumps out of bed and starts throwing on some clothes quick.

GALE  
>So there were two murders last night?<br>(beat)  
>And they were Stab - - our life related? !<p>

DEWEY  
>Apparently so.<p>

GALE  
>So dueling murders? How many victims?<p>

DEWEY  
>Five total. One is in a coma. Four in<br>Hollywood, one here.

GALE  
>(sighs)<br>Dammit. We can never catch a break.

Dewey enters back in the room.

DEWEY  
>(comforting her)<br>I'll catch 'em. I always do.

Dewey kisses her on the forehead and runs back into the bathroom.

GALE  
>You mean "we" always do.<p>

Gale comes back out, toothbrush in his mouth.

DEWEY  
>Not this time, Gale. You're not a reporter<br>anymore and you're not a journalist. You're  
>just coming along for safety and once I get<br>someone to be with you at all times, I want  
>you as far away from this case as possible.<p>

GALE  
>How far away? I mean with a murder in<br>Woodsboro and in Hollywood, I'd have to  
>be damn near Texas.<p>

DEWEY  
>Something like that - - but not Texas, they have<br>the highest rate of serial killers.

Returns back to the bathroom.

GALE  
>Dewey, I'm not gonna just leave home. What<br>about you, you're always in the line of danger  
>as well. You're the SHERIFF!<p>

DEWEY  
>It's my job, Gale. And I'm the man of the<br>house!

Gale walks out of the room.

GALE  
>This is what happens when you marry a '6.' They<br>always have to prove they're a man!

Dewey jumps out of the bathroom, offended.

DEWEY  
>What do you mean a '6?'<p> 


	6. Plotting the Next Move: An Investigation

CUT TO:  
>EXT. SUNRISE STUDIOS BACKLOT ENTRANCE - DAY<br>The music SMASHES in typical Scream style as we CRANE DOWN into the madness happening outside of Sunrise Studios. Kirby drives up and the wall of journalists and cameramen split to let her in, trying to get a word in with her as she goes through. The arm goes up, letting her in and closes back down, keeping the tabloids away.

Kirby parks in her space in front of sound stage 18 and gets out of the car, dumbfounded. She looks around for the nearest person and sees the Ghostface decorations being carried down the hill from the theme park. She decides to stop one.

KIRBY  
>Hey, what's going on?<p>

CREWMAN  
>We're burning all the costumes.<p>

He hurriedly continues on, he has no time on his hands. Kirby stands there still not sure of what's going on. A HAND DROPS ON HER SHOULDER. She spins around. It's Detective Wallace.

WALLACE  
>Kirby Reed?<p>

KIRBY  
>How do you know my name?<p>

WALLACE  
>Well if you're not, than you're parked in<br>her spot...

KIRBY  
>Oh, right, yeah, I'm Kirby.<p>

WALLACE  
>(shows his badge)<br>I'm Detective Wallace, I left you a message  
>on your phone last night.<p>

KIRBY  
>Oh, I never check my phone in the mornings,<br>I'm sorry.

WALLACE  
>Well I warned you about coming here, Ms. Reed.<br>There's been a homicide.

Kirby's eyebrows raise and her heart drops.

KIRBY  
>Wha-wha-what?<p>

WALLACE  
>Walk with me, Ms. Reed.<p>

They walk on and make their way towards the soundstage.

WALLACE  
>Last night around midnight, four college<br>students who attend Windsor College were  
>found murdered inside the new Stab maze in<br>the theme park. Another was found unconcious  
>and is currently in a coma.<p>

KIRBY  
>Heavy.<p>

WALLACE  
>It gets more dense. This morning, a call<br>came in from the mother of two of the victims.  
>She was concerned that her other daughter,<br>a high school student hadn't come home the  
>night prior. Last she knew, she was at a<br>party.

KIRBY  
>Lemme guess... 261 Turner Lane?<p>

WALLACE  
>Her body was found stabbed 28 times at the<br>top of the stairs.

KIRBY  
>(eyes widen)<br>Where's Niley?

WALLACE  
>She's inside, she's safe. I already questioned<br>her and asked if she had seen anything out of  
>the normal.<p>

KIRBY  
>Oh, thank God.<p>

WALLACE  
>But Sheriff Riley is handling the case back<br>there so I don't have much control on what  
>goes on in the 'boro. Kincaid is still in<br>Hawaii so I'm heading the theme park murders  
>until he gets here.<p>

KIRBY  
>(bites her finger)<br>Okay, so... what do you want me to do?

WALLACE  
>(shrugs)<br>Go home. This seems to be the least safe  
>place to be right now with the killer possibly<br>on the lot.

Ackerman comes storming over.

ACKERMAN  
>No, no, no; she has to stay! She is the<br>writer!

WALLACE  
>Since when did the writer need to be on set?<p>

ACKERMAN  
>This is a high profile motion picture, there<br>are constant re-writes. Without her, we're  
>pretty much Sally-fucked.<p>

WALLACE  
>Who are you?<p>

ACKERMAN  
>(scoffs)<br>I am the director! Ackerman Steel!

WALLACE  
>Didn't you make that movie with the - -<p>

ACKERMAN  
>Yes, I brought the bat nipples back. That<br>was me and I regret it but please, for the  
>love of God, don't take away my writer. The<br>studio is already being hassled to shut down  
>15 productions of movies, commercials, TV<br>shows and even a modeling shoot so this is  
>just unneeded pressure.<p>

WALLACE  
>Ackerman, you are aware that Kirby here is<br>possibly a target of a serial killer and  
>if you are anywhere around her, it is possible<br>you will be killed as well?

ACKERMAN  
>(beat)<br>Take her. See ya, Kirby.

Ackerman runs off.

KIRBY  
>Ugh. Okay, let me go talk to Niley real quick<br>and we'll play the whole "under lock and key"  
>thing all over again.<p>

Kirby enters the sound stage and Wallace follows.

INT. SOUNDSTAGE 18 - CONTINUOUS  
>Niley sits in her chair, waiting for the shoot to continue. Kirby walks up, Wallace being distracted by the catering table. Kirby hugs Niley big, Niley almost unsure of why.<p>

KIRBY  
>I told you that you shouldn't have gone to<br>that party!

NILEY  
>I talked to that girl right before... it's<br>crazy.

KIRBY  
>Did you see anything?<p>

NILEY  
>Everyone was in a mask and I left within the<br>matter of five minutes. I did dance with this  
>guy who seemed really interested in me though.<p>

KIRBY  
>Who?<p>

NILEY  
>His name was Everett. He rented the house.<br>He kept saying these weird things about like  
>how I was special and stuff.<p>

KIRBY  
>Niley... did the girl know him?<p>

Niley innocently nods.

KIRBY  
>Did you tell Detective Wallace that?<p>

NILEY  
>Yeah but he says we can't just indicate him<br>because he rented the house. He said there's  
>still the owner, other people at the party,<br>etcetera. Although he says he should be a  
>suspect but... it's not his investigation.<br>But I'll just have to tell Dewey that whenever  
>he calls.<p>

KIRBY  
>So that's it?<p>

NILEY  
>OH! One more thing, I actually forgot to<br>show Wallace this...

Niley jumps up and walks over to her purse. Kirby watches, trying to look ahead in the future to see what she's about to look at. Niley pulls out the Ghostface card and holds it up to Kirby's face.

KIRBY  
>What's that?<p>

NILEY  
>I don't know. I thought maybe you'd know.<p>

Wallace walks over and grabs the card, flipping it over.

WALLACE  
>What are these numbers on the back?<p>

NILEY  
>My boyfriend seems to think it's code of<br>some sort.

WALLACE  
>You found this... at the party?<p>

NILEY  
>Yeah, it was on the ground outside.<p>

WALLACE  
>(handing it back)<br>Make sure you give this to Sheriff Riley.

CUT TO:  
>EXT. 261 TURNER LANE - DAY<br>The Sherrif's car pulls into frame and stops. Waiting off to the side is DEPUTY MORRISON - - late 20s, determined and very obediant in a solider-like way. He walks over to the car and opens the car door for Dewey. Dewey nods to him thankfully as Gale gets out of the car. Morisson salutes Dewey and Dewey shakes his head, trying to take his hand down.

DEWEY  
>At ease, Deputy.<p>

MORRISON  
>Sir, yes, sir!<p>

Dewey almost seems embarassed that this happening in front of Gale.

GALE  
>Sir?<p>

DEWEY  
>(looks back to Gale)<br>He used to be in the military.

MORRISON  
>Marines, sir!<p>

GALE  
>What happened to Judy?<p>

DEWEY  
>She quit awhile back, no big deal.<p>

GALE  
>I would think you would tell me something<br>like that, Dewey. No wonder she stopped  
>calling and annoying the fuck out of us.<p>

Morrison is still at a stand still.

DEWEY  
>Morrison, seriously, look, it's okay.<p>

MORRISON  
>... I'm proud to be your Deputy, Sheriff Riley!<p>

DEWEY  
>(realizes he won't give it up)<br>So what do we know?

Morrison then starts walking ahead towards the house, Dewey and Gale following along.

MORRISON  
>We have one casualty with an array of stab<br>wounds. Caucasian female, age of 17. Her  
>name is Allison Ricci. Sister of Chuck<br>and Tina Ricci, also victims in Hollywood.

Morrison duck under the tape and enters the house. Dewey stops for a moment and looks at the post next to the door where he laid 20 years prior after being stabbed. He continues on.

INT. 261 TURNER LANE - CONTINUOUS  
>Morrison makes his way up the stairs, dodging out of the way of investigators. Gale looks around in complete awe; the place is still relatively the same. They reach the top and look down at a bloody stain in the carpet.<p>

MORRISON  
>This is where her body was found, sir.<p>

DEWEY  
>Jesus...<p>

Morrison now makes his way to the master bedroom.

MORRISON  
>We believe she was chased out of this bedroom<br>and down this hallway.

They enter the bedroom. The sheets are a mess.

MORRISON  
>It's the only bedroom with a door open and<br>messy sheets, sir.

DEWEY  
>Has forensics came in here yet?<p>

MORRISON  
>Negative. They're still on the way.<p>

DEWEY  
>Okay, I wanna talk to whoever was throwing<br>this party.

MORRISON  
>That's been tricky. The owner is on vacation.<br>However, we got word that someone by the name  
>of Everett Vancastle rents the house out from<br>the owner every year and throws a party here.

GALE  
>Every year?<p>

MORRISON  
>That's correct, ma'am.<p>

DEWEY  
>Track down this Vancastle, if you can. Is there<br>any other evidence?

MORRISON  
>We're still looking, sir.<p>

Dewey turns to Gale and have a word off to the side.

DEWEY  
>I want you to go home, I want you to pack.<p>

GALE  
>No, I'm staying here. If something happens,<br>I need to know. I already told you that.

DEWEY  
>Then what do you suggest, Gale? Wait to be<br>picked off again?

GALE  
>Get some - - stupid cops to come surveillance<br>the house or whatever.

DEWEY  
>I think we've seen, that doesn't necessarily<br>work all the time!

GALE  
>I'll be fine. I'm not leaving you.<p>

DEWEY  
>(beat)<br>Okay, I'll rally some guys. But get a friend  
>to come by or something too.<p>

GALE  
>(soft smacks his face)<br>Now that sounds more reasonable.

She walks off.

CUT TO:  
>INT. LOS ANGELES POLICE DEPARTMENT - INVESTIGATION ROOM - DAY<br>Kincaid enters the room, it's filled with not only cops & Wallace but Kirby, Niley, Gale & Roy. Sidney enters behind, Kincaid fuming at the sight of her. Sidney apparently had her way and didn't stay in Hawaii.

KINCAID  
>Ladies and gentleman, what we are dealing<br>with here is quite simple... more than one  
>killer. Stab-related and possibly movie<br>obsessed and knows the targeted victims.  
>The murders occuring at Sunrise Studios<br>and Stu Macher's old house weren't by  
>coincidence but purpose. There's a message<br>being sent here and it is our job to seek  
>it out while protecting the targets, my<br>wife included. Now I want you all to  
>listen very carefully because what we're<br>going to do is risky. All of these prior  
>murder cases have taken place over a 3 day<br>period. The formula is: night one, someone  
>is attacked. They send their message, they<br>make their point across. Night two, they  
>attack once again, targeting one of their<br>main targets. Usually this step fails and  
>if they don't get the main target, they get<br>a lesser target. The third night, they  
>devise a plan in order to get close to the<br>target. They succeed but the common thread  
>in all of these is they always fail. We<br>cannot count on them failing. We have to  
>assume these killers have gotten smarter.<br>So tonight, from previous history, we know  
>they'll attack. We have to put the main<br>targets all in one place and set it up as  
>bait. This way, we skip night three, catch<br>them both and we save the day. Any questions?

ROY  
>Is it really gonna be that easy?<p>

KINCAID  
>This has happened five times. It would be<br>blatantly stupid of us to not have caught on.  
>Any ideas?<p>

Niley raises her hands, dough eyed and not sure if she should be. Kincaid nods towards her, acknowledging her to speak.

NILEY  
>Well, there's this sorority party at Windsor<br>today. I was invited to go. And with many  
>of the previous victims coming from Windsor,<br>we could assume that they either go there or  
>plan to attack there. Plus I wanna be enrolled<br>at the school and this my chance so it's like  
>killing two birds - - I mean, not killing, that's<br>just innappropriate. Um... smashing two birds  
>with one stone. Well if you smash a bird, you<br>can kill it, too, so not that either...

KINCAID  
>I get what you mean, Niley and you're right,<br>this is actually a really good idea. We make  
>it seem that the party is available for intrusion.<br>We hide out and if anything happens, we jump in.  
>Simple as that. Let's go.<p>

CUT TO:  
>INT. RICCI'S RESIDENCE - DAY<br>Dewey and Morrison sit on Mrs. Ricci's couch, looking onward. Mrs. Ricci sits there, crying.

DEWEY  
>I know this is difficult, Mrs. Ricci but we'll<br>try our best to be as sensitive to the nature  
>as possible.<p>

MRS. RICCI  
>Thank you.<p>

DEWEY  
>Does the family have any enemies of any sort?<p>

MRS. RICCI  
>No. None, they were good kids.<p>

DEWEY  
>Is it possible that they were involved in any - -<br>gang related activities?

Even Morrison looks at Dewey with a "what?"

MRS. RICCI  
>Of course not, they were all good kids with<br>good grades. They would never hurt anybody!

DEWEY  
>Do you know if any of them know anybody by<br>the name of Everett Vancastle?

MRS. RICCI  
>I don't know any of their friends.<p>

DEWEY  
>Then how could you be sure they didn't have<br>enemies and weren't in gang activity?

MRS. RICCI  
>I know my children, Sheriff Riley! Now<br>excuse me, I would like to see my Chuck in  
>the hospital.<p>

Mrs. Ricci gets up and walks out of the room.

MORRISON  
>So much for that...<p>

Dewey frowns and looks over at the wall at the family pictures. He gets up and looks at them each, one by one. He stops at one - - a picture of a tall man with dark hair and in a letterman's jacket WITH CASEY BECKER. He grabs the picture off the wall and examines it more closely. Mrs. Ricci comes back and is heading for the door.

DEWEY  
>Mrs. Ricci, one last question!<p>

MRS. RICCI  
>Please hurry.<p>

DEWEY  
>(turns the photo around)<br>Who's this?

MRS. RICCI  
>(sobs a bit more)<br>My brother.

DEWEY  
>Steven Orth is your brother?<p>

MRS. RICCI  
>Yes. I never told my children about him<br>though. The Becker family already had  
>enough trouble as it is. I didn't want to<br>have to move to make my kids start over and  
>feel new. I wanted them to stay here. And<br>they would never have to know.  
>(she holds the picture)<br>It's been so long since I've seen him.  
>He only knew Chuck and Tina but they were<br>too young to remember. Allison wasn't  
>born yet.<br>(strokes the frame)  
>I almost forget sometimes about the way we<br>lost him. I just like to think... that he's  
>on a trip. That he's still playing football<br>somewhere... you don't want to remember  
>your brother the way that you last saw him<br>when they were dead, ya know?

DEWEY  
>Yeah... actually I do know. I know that<br>very well.

MRS. RICCI  
>And now this...<br>(says with hatred pouring from her veins)  
>Ghostface has taken my babies! But not me.<br>Why not me instead?

DEWEY  
>I'm sorry.<p>

MRS. RICCI  
>We lived so fine without remembering and<br>pretending like nothing was happening around us  
>for so long... until now... until now.<p>

DEWEY  
>Thank you for your time, Mrs. Ricci.<p>

Dewey and Morrison exit, Mrs. Ricci still there holding the picture.

Want more to SCREAM about? Help this story reach up to 15 reviews and the fun REALLY begins! Coming up:  
>- The Omega Beta Zeta party. What happens when the Ghostface Society plans are in motion?<br>- Another tape? Randy?  
>- Old characters return! More old locations! NEW of both!<br>- The body count reaches ALL time highs. And the calm before the storm is just about over. The THREE chapter long finale is upon us and will bring upon the most SHOCKING twists, INTENSE moments and EPIC story arcs the franchise has ever seen!  
>Keep the reviews coming from this point and on with 5 reviews per chapter and the insanity will keep on rolling without stopping until the very end!<br>REVIEW this chapter, old chapters and tell friends to start reading NOW!


	7. Omega Beta Zeta Party: Echoing Screams

CUT TO:  
>EXT. SORORITY ROW - NIGHT<br>A van is parked outside of the sorority row cul de sac. RJ waits eagerly on the outside. Out comes Niley, Kirby, Roy & Sidney, all dressed for the party. Sidney feels a bit out of place; she's older than everyone else and it's been years since she's last been here. They all begin walking down the street towards the house, following the crowd.

INT. VAN - CONTINUOUS  
>Kincaid, Dewey, Morrison sit around in chairs around the van, watching monitors and listening in. Also joining them is DETECTIVE PANAMA - mid-50s, cool twirling mustache and gray hair with a typical detective hat.<p>

KINCAID  
>Niley, can you hear me?<p>

NILEY (O.S.)  
>Loud and clear.<p>

KINCAID  
>Sidney, there's something blocking your camera.<p>

From the feed, we can see a strand of hair removed out of the way towards her bust area, standing in as a button.

KINCAID  
>Thank you.<p>

PANAMA  
>If anything happens to any of these kids...<p>

KINCAID  
>Panama, just relax. We have this under<br>control. That is if your SWAT is capable...

PANAMA  
>Our regular beat cops would be better suited<br>than anything Woodsboro or LA has to offer.

KINCAID  
>Is that so?<p>

DEWEY  
>Hey, a lot of good men died in the 'boro<br>PD offices four years ago. Show some respect!

PANAMA  
>... exactly my point.<p>

DEWEY  
>(turns around)<br>Panama, I'm gonna rip that ridiculous mustache  
>off your FACE!<p>

MORRISON  
>I'll take that honor, sir.<p>

KINCAID  
>There will be no mustache ripping!<p>

DEWEY  
>I'll do it, I'll take it!<p>

NILEY (O.S.)  
>Would you guys shut the fuck up? !<p>

There's a long awkward beat between them all.

PANAMA  
>So much for stopping the making of Ghostface<br>costumes and Stab movies... here we are...  
>in a van... waiting for another murder to<br>happen... maybe if you had this all under  
>control...<p>

DEWEY  
>How do you know the killers aren't from<br>Windsor? It happened before!

PANAMA  
>I wasn't around back than. That wasn't my fault.<br>And the kids in this town are too happy to  
>do anything like that now.<p>

They all turn in their chairs to stare at Panama.

PANAMA  
>What? It's true!<p>

NILEY (O.S.)  
>Panama, your mustache is mine once I get back.<p>

CUT TO:  
>INT. OMEGA BETA ZETA HOUSE - NIGHT<br>Outside of the house sits MORTON CREED - - RJ's best friend, a likable guy but likes to keep a low profile usually - perched up against the steps. RJ greets him.

MORTON  
>Finally, I've been waiting for you guys.<br>This is my first college party! I'm so  
>stoked!<p>

They all enter the house, Niley looking eager. Sidney, Kirby and Niley bunch together and make their way across the room. Roy sticks behind with the guys.

ROY  
>Hey, how's it goin'? I'm Roy Popper.<p>

MORTON  
>Morton Creed, I listen to your show all<br>the time! It's fantastic.

ROY  
>Thank you. I didn't know they got it in<br>Woodsboro.

MORTON  
>I download it off the internet.<p>

ROY  
>Oh, so that's you pulling in 100% of traffic<br>to the site.

RJ  
>So what are we supposed to be doing exactly?<p>

ROY  
>Keep an eye out. Look for anyone suspicious.<p>

RJ  
>Everyone is drunk with glee filled smiles,<br>they all look suspicious.

ROY  
>Have a little bit of paranoia there? Let's<br>get a drink. You're old enough right?

RJ  
>No.<p>

MORTON  
>But tonight we are, RJ!<p>

They make their way over to the keg. We SKIP OVER to the girls. Nessa runs down the stairs and spots Niley.

NESSA  
>You came!<p>

Nessa hugs Niley and grabs her by the hand, dragging her into the next room.

NESSA  
>You gotta meet the house mothers!<p>

They all follow. Sitting in a circle in a much more quiet room is HOUSE MOTHERS LOIS AND MURPHY and SORORITY SISTER JANE CLEMENS. Lois and Murphy don't seem to have aged too much from when we last saw them at Windsor as sisters trying to recruit Sidney in 1998. Jane is gorgeous but has a quiet, dark look about her - - you can just see it in her eyes.

LOIS  
>Well fuck me sideways, it's Sidney Prescott.<p>

SIDNEY  
>Lois? Murphy? It's been so long! You're<br>still here at Omega Beta Zeta?

MURPHY  
>House mothers now.<p>

SIDNEY  
>That's - - cool.<p>

NESSA  
>I want to introduce you to Niley Krinkey.<br>I told you about her, remember?

Lois and Murphy both stand up to take a better look at Niley. Jane observes from the couch.

LOIS  
>She's not bad, Nessa. Where'd you find her?<p>

MURPHY  
>(pointing to Kirby)<br>What about this one?

KIRBY  
>Oh, no, not for me. I'm a screenwriter.<br>I don't go to school anymore.

LOIS  
>(crossing her arms)<br>Oh... anything I would've seen?

KIRBY  
>Not yet. In theaters this December though.<br>Walking With Gorillas. Starring Julia Roberts.  
>Check it out!<p>

MURPHY  
>We'll see. But Nessa, we're proud of you<br>bringing us this little - - hot stuff.

NILEY  
>Hot stuff?<p>

LOIS  
>We've been looking for someone just like you.<p>

NILEY  
>Why me?<p>

MURPHY  
>Oh honey... look at you! You're hot right<br>now. You're smoking... on fire. You're  
>explosive, baby! Like a mother fucker! Kids<br>still say "like a mother fucker" right?

NESSA  
>(kissing ass)<br>Oh yeah, all the time.

LOIS  
>We're talking about your hair color. Red<br>is just what we need for the sorority.  
>We need "variety" or whatever and all the<br>other ginger hags running around just don't  
>cut it. At least not here at Windsor.<p>

NILEY  
>It's actually not real. I just dye it this way.<p>

NESSA  
>(squeezes Niley's arm)<br>She's joking! Funny! See? Told you.

NILEY  
>No, I wasn't.<p>

NESSA  
>(grits her teeth)<br>DO YOU WANNA GET IN OR NOT?

NILEY  
>OH! Right... yeah! Carpet matches the<br>drapes and everything.

MURPHY  
>That was a little too much info, Niley.<br>We also hear you're an actress?

KIRBY  
>Yeah, she's great. But she's in need of<br>some classes which Windsor provides.

SIDNEY  
>Does Gus Gold still work here?<p>

Jane finally speaks.

JANE  
>That old fucker? He worked here back than, too?<p>

SIDNEY  
>(cold)<br>Yeah.

LOIS  
>Be appropriate, Jane. Sidney has a connection<br>with Mr. Gold. She was his leading lady...  
>well, until...<p>

MURPHY  
>Let's skip the technicalities!<br>(snaps her fingers)  
>Jane, help Niley get enrolled here. Have a<br>little talk with the dean. He should be around,  
>right?<p>

JANE  
>(getting up)<br>I suppose.

CUT TO:  
>INT. RILEY'S HOUSE - NIGHT<br>The door bell rings. Gale gets up from her computer and opens the door. It's her friend, EILEEN PACE (without question to be played by Jennifer Aniston) - - filled with life and nostalgic joy to see Gale. She's carrying some bags with her and she extends her arms for a hug.

EILEEN  
>Heeeeeey!<p>

GALE  
>(hugging)<br>Oh my God, Eileen, I've missed you.

EILEEN  
>Me too, me too.<p>

GALE  
>Come on in.<p>

Eileen enters and looks around, impressed by Gale's lifestyle - - only a little bit.

EILEEN  
>So you went suburban?<p>

GALE  
>Yeah, well, for awhile I was in the business<br>of death so I had to make a switch.

EILEEN  
>Oh my God, I know. One day you're reporting<br>the news and the next, you are the news. But  
>I made my switch long before you, honey. I<br>gave up journalism and sometimes I wish I didn't.  
>Became a housewife, can you believe it?<p>

GALE  
>Things have definitely changed since we were<br>roomies. Journalism sisters, ready to take on  
>the media.<p>

EILEEN  
>Yeah but... that's okay. I'm happy now.<p>

GALE  
>Really? Is that what's in your bags?<br>Happiness?

EILEEN  
>Precisely.<br>(puts the bags on the counters and  
>starts going through the contents)<br>Being a housewife, I have learned quite a  
>few things... and one of those, was definitely<br>cooking.

GALE  
>Oh... no, no. Gale doesn't cook.<p>

EILEEN  
>Oh yes, Gale is about to learn. The best<br>way to keep your man satisfied other than  
>the bedroom - - is to fill his stomach with<br>good old fashioned food.

GALE  
>I think I'll just stick with the bedroom.<br>I'm an underachiever that way, I only like  
>to scrape by with the bare minimum.<p>

EILEEN  
>Oh, c'mon Gale! You said bring you something<br>to get you started on a new hobby to get  
>your mind off journalism and reporting and<br>so I brought what took my mind off of it!  
>And don't worry, we're gonna work on this<br>together. I'm gonna be here everyday to make  
>sure you graduate from the Culinary Arts of<br>Eileen.

GALE  
>Is that a real thing you're trying to do or<br>did you just make that up?

EILEEN  
>(half smile)<br>Let's not talk about my failures, Gale. SO,  
>I'm gonna teach you first how to make breakfast.<p>

Eileen seems excited, her eyes wide open to teach. Gale has a nervous smile planted on her face.

CUT TO:  
>INT. VAN - NIGHT<br>Some time has passed. Everyone in the van looks completely bored.

PANAMA  
>You sure you were right, Kincaid? Nothing<br>has happened in over 5 hours...

KINCAID  
>Give it some time...<p>

PANAMA  
>These are just... meaningless conversations<br>going nowhere. None of these people could  
>possibly be the killer.<p>

KINCAID  
>You don't know that.<p>

PANAMA  
>I do know that. You'll see... nothing is<br>gonna happen tonight.

THE VAN STARTS.

DEWEY  
>What's going on?<p>

Kincaid jumps up but the van MOVES FORWARD, pushing him back down in his chair. The whole van holds on, trying to reach for the door. The van hits a bump, they all fly up in the air.

CUT TO:  
>INT. OMEGA BETA ZETA HOUSE - NIGHT<br>A SCREAM COMES FROM OUTSIDE. Everyone looks at each other in bewilderment then all RUN OUT.

EXT. SORORITY ROW - CONTINUOUS  
>Everyone stops and looks on. A girl stands in the middle of the street, COVERED IN BLOOD. She slowly walks forward, whimpering. Sidney jumps forward and races to her.<p>

SIDNEY  
>Jesus!<p>

The girl trembles, blood dripping down her leg and creating a puddle around her. Sidney reaches her and grabs her shoulders.

SIDNEY  
>Hey, are you okay? Where are you hurt?<p>

The girl looks up - - AND SQUIRTS SIDNEY IN THE FACE WITH SILLY STRING. She gives a loud "WOO!" and half of the crowd cheers.

SORORITY GIRL  
>DELTA LAMBDAS, BITCHES!<p>

SHE SQUIRTS Sidney some more and runs off.

NESSA  
>Those fuckin' Lambdas and their stupid pranks.<p>

Off to the side, the VAN IS RACING AROUND THE STREET. Roy notices and RUNS ACROSS the field, trying to catch up to it. RJ and Morton follow, wanting to be super bad ass too. Roy reaches the driver seat and JUMPS onto the door, hanging on. Roy swings open the door to find - - PEYTON, piss drunk hammered and laughing while taking a joy ride.

CUT TO:  
>EXT. SORORITY ROW - NIGHT<br>Peyton is now on the sidewalk, hands cuffed behind his back and still laughing. Panama writes him a ticket while two other cops pick him to throw him in the squad car.

PEYTON  
>It was just a joke, c'mon! It was funny!<p>

Panama shakes his head and sighs, looking at Kincaid.

PANAMA  
>Like I said... nothing's gonna happen tonight.<p>

Kincaid feels defeated - - he got something wrong that he was so sure of. Peyton notices Niley with RJ while getting thrown into the car.

PEYTON  
>You're still with that little high school<br>bitch? When you gonna get a real man, like me,  
>baby?<p>

RJ just squirms and Morton notices his discomfort.

MORTON  
>Hey, fuck you, Peyton!<p>

Peyton is thrown into the car and the door slams.

RJ  
>You didn't have to do that.<p>

MORTON  
>Well shit, man, you don't get tough off of<br>playing Fight Night all day.

RJ  
>I like first hand shooters, not fight games.<p>

MORTON  
>Yeeeah, how would I know?<p>

He looks back out the window, watching Niley as they drive away with a devilish grin. Niley shutters and Sidney throws her arm around her.

SIDNEY  
>C'mon, let's get out of here.<p> 


	8. I Enjoyed Killing Your Wife

DISSOLVE TRANSITION - -  
>The Fall leaves begin to change and disappear within the snow and then back to dry ground. Time is passing rapidly around the Windsor College campus. SUBTITLE: TWO MONTHS LATER.<p>

CUT TO:  
>INT. WINDSOR THEATRE - DAY<br>Niley is on stage, a full cast and band behind her as she comes front and center on the stage. She begins pouring her heart out to the empty seats in front of her only holding Gus Gold and Sidney singing "I Surrender" by Celine Dion (youtube . com /watch?v=AshJi7fBbww). They both watch, tears nearly in their eyes. She's a bonafide POWERHOUSE.

NILEY  
>'Cause I'd surrender everythingTo feel the  
>chance to live againI reach to you/I know  
>you can feel it tooWe make it through.

The chorus behind her begins to sing along, adding onto the epic scale.

NILEY  
>A thousand dreams I still believeI'd make  
>you give them all to meI'd hold you in my  
>arms and never let goI SURRENDER.

Gus smiles. Sidney holds her hands to her mouth, trying to hold back the tears building up by watching this captivating performance.

The bridge breaks down.

NILEY  
>Every night getting longerand this fire's  
>getting stronger, babyI swallow my pride/  
>And I'll be alivedid you hear my call?

They're both proud and feel such a sense of accomplishment. They brace theirselves for the song's biggest note.

NILEY  
>I !<p>

The background resings the chorus and Niley catches up.

NILEY  
>I reach to youI know you can feel it too/  
>We'll make it throughA thousand dreams I still  
>believeI'd make you give them all to me/I'd hold  
>you in my arms and never let goI surrender...

The song goes to the outro.

NILEY  
>Right here! Right now! I'd give my life to<br>live again! I'll break free, take me! My  
>everything, I surrender all to you! Right now!<br>I'd give my life. Take me! My everything!

Her spotlight fades. Sidney and Gus take a moment to even move and they slowly get up, applauding. Sidney, almost feeling the pride of a mother, watches Niley grow from just a tiny seed into a full plant. Niley runs down the stage and over to them.

NILEY  
>I'm starving!<p>

CUT TO:  
>INT. RILEY'S KITCHEN - DAY<br>We DOLLY DOWN a kitchen counter - - food is everywhere galore. Turkeys, chicken, muffins, cookies, spaghetti, pies, cakes, pizzas - - just a cornucopias amount of food for no real reason spread out everywhere. Gale opens up the stove, Elieen watching her in anticipation. She springs out a batch of lasagna and places it with the rest of the food. Eileen bends down and looks at it, taking a fork and having a small bite.

Gale looks at her with a "you better like it, bitch" look. Eileen moans a tad bit. Gale smiles, the biggest sense of accomplishment.

EILEEN  
>Well you're getting there.<p>

GALE  
>Getting there? I rocked that lasagna!<p>

EILEEN  
>Gale, it's okay, hon', you'll do something<br>better.

GALE  
>Better? Better? ! It's been two months and<br>I can't cook a perfect lasagna? ! I'm never  
>gonna get better, Eileen!<p>

Gale throws her oven mits off and crashes on the couch. Eileen doesn't know what to say...

GALE  
>This isn't for me, Eileen. We need to find<br>me a new hobby.

EILEEN  
>You can't just give up like that! Everything<br>takes dedication and - and - and persistence.  
>Would you have been such a great reporter if<br>you all of a sudden gave up journalism?

GALE  
>Eileen, I was good at journalism... before I<br>knew journalism even existed.

EILEEN  
>Well cooking isn't a natural born talent, it's<br>a skill and skills take time, trust me. Just  
>get your ass back up and let's try something<br>else. It doesn't have to be perfect but let's  
>at least try and not give up. Okay?<p>

GALE  
>... I can't believe we've been doing this for<br>two months. Just so I would keep myself occupied  
>and not get involved in a case that obviously<br>there is no case of anymore.

EILEEN  
>At least we got reacquainted.<p>

GALE  
>Oh, who gives a shit? !<p>

EILEEN  
>(frowns)<br>I've been having fun.

GALE  
>I bet if I were working this case, I would've<br>figured this out by now. That's why it's ran  
>cold because I wasn't working it! Yup! That's<br>exactly it!

Eileen bends down and touches Gale's knee.

EILEEN  
>Dwight loves you, Gale. And if anything were<br>to happen to you because of that case, he  
>wouldn't be able to live with himself. He<br>LOVES you and God knows, we've been going to  
>the fertility clinic to get the injections,<br>the hormones, the whole nine yards so you can  
>have a baby. So you can't be stressed right<br>now and a case brings stress. A child is what  
>is most important right now. And do you know<br>what children like? FOOD. So be a good future  
>mommy and march back in there and let's try to<br>make a casserole.

GALE  
>Fine. Move.<p>

CUT TO:  
>EXT. WOODSBORO CEMETERY - DAY<br>Kirby is knelt before a tombstone, she looks at it with great sadness but doesn't let it succumb her.

KIRBY  
>I'm getting married in 2 days... to Roy. You<br>met him a couple of times but we never were  
>anything back than. You would like him, mom.<p>

We spin around and sees she's looking at her mother, Beverly Reed's, tombstone.

KIRBY  
>He takes care of me. He loves me. Hell, God<br>knows he practically planned the whole wedding.  
>I've just been so busy with the premiere that's<br>finally tonight that I just... I should've been  
>more grateful to him. I wish I could show it.<br>I wanna say marrying him is enough but I know  
>people want more than that.<br>(beat; a tear falls)  
>I should've showed you I appreciated you more.<br>The last thing I said to you, I ... I know that  
>must've hurt but I just wanted to let you know<br>that I'm sorry. I'm sorry. I didn't mean any  
>of it and I would take it all back if I could.<br>But you're gone now and that was officially the  
>last thing I got to say to you. And it hurts...<br>it hurts so much every time I think of it that it  
>just eats me up inside... you didn't deserve that<br>and I'm sorry.  
>(she sniffles, wiping away her tears)<br>I just wish you could be there tomorrow and  
>the next day. The two biggest days of my life.<br>(chokes up)  
>I miss you, mom. And I love you.<p>

Kirby takes out a picture from her back pocket and places it on top of the tombstone and then a pebble on top of it to hold it down. They're much younger in the picture, Kirby at the most is 10. Her mother is blowing a raspberry in her cheek.

Kirby gets up and sighs heavily and walks out of the cemetery. Out of the corner of her eye, she can see Olivia Morris's grave. She stops for a moment and looks back over. She decides to walk over there.

KIRBY  
>Hey girly... don't know if you overheard but<br>I'm getting married soon. I really wish  
>you could've been a bridesmaid... I know you<br>would've loved that. Anyway... I'll come  
>back soon. Just wanted to say "hi."<p>

CUT TO:  
>INT. VANILLA SKIES CAFE - DAY<br>Niley, Sidney, Gus and RJ sit at a table, eating a huge meal for the day. We now get a good look at Gus - - much older but ever more wise as he was before.

GUS  
>Niley, I haven't seen a more breathtaking<br>performance like that since - - well, Sidney.

NILEY  
>Well thank you, Gus.<p>

SIDNEY  
>You've come a long way in two months.<p>

RJ  
>I can't wait to see it opening night, baby.<p>

GUS  
>Another two weeks and you'll be on that<br>stage. I once again want to thank, thank,  
>thank you for taking the time out of your<br>busy schedule to work for this production.

NILEY  
>I hope I do as good on my weather girl interview<br>today!  
>(realizes)<br>Geez, today is a busy day. Sid, you're going  
>to the premiere tomorrow, right?<p>

SIDNEY  
>Of course.<p>

GUS  
>Hold on, hold on, a weather girl interview?<p>

Niley nods, smiling blankly.

GUS  
>Sweetheart, you're much better than that. You<br>need to shine in a performance like the one you  
>just gave!<p>

NILEY  
>(blush)<br>Geez, tone it down, will ya? Don't overhype it  
>for RJ. Plus, weather girl is something I've<br>always wanted to do.

RJ  
>I'm sure it'll be amazing babe.<p>

NILEY  
>Hey, but you know what IS amazing? Watch.<br>Give me your drink.

Niley grabs RJ's drink and starts blowing bubbles from the bottom of the bottom of the cup. Gus looks at Sidney and all she can do is shrug in a "she's weird, what can I say?" kinda way. She slides the cup back to RJ.

NILEY  
>Now taste it.<p>

RJ  
>(sips and his face goes to disgust)<br>It's flat!

NILEY  
>(giggles)<br>It's cool, right?

RJ  
>How's that cool? That's awful. Now I need<br>to get a new drink.

NILEY  
>Well like, think about it. Because the bubbles<br>builds up air pockets and from that, they explode  
>losing the carbonation of the drink. It's kinda<br>like when you shake a soda and it explodes but  
>you decide to drink it anyway and soon realize it<br>wasn't worth it because it flat.  
>(stoner laugh)<br>It's so cool.

RJ  
>If you say so, honey.<p>

They kiss.

RJ  
>But get me another drink.<br>(takes out his wallet and hands her  
>money)<br>Here.

Niley grabs his cup and walks off towards the soda machine. Sidney looks down at RJs ID... she notices something peculiar about his name. RANDY KOLCHEC, JR.. The soundtrack THUDS. Sidney looks back up at RJ.

SIDNEY  
>So RJ... tell me about your family.<p>

RJ  
>What do you wanna know? Typical family if<br>you ask me. My mom's a social worker, my  
>stepdad is a truck driver. I have two brothers<br>and one sister. Well, they're technically  
>half but I don't like to discriminate.<p>

SIDNEY  
>Hm... what happened to your dad?<p>

RJ  
>I don't know... I never knew him. My mom<br>says he died before I was born.

SIDNEY  
>Are you into movies by any chance?<p>

RJ  
>Video games, actually.<br>(beat)  
>Why the sudden questions?<p>

SIDNEY  
>I'm just - - curious, is all.<p>

RJ  
>Okay... cool. I guess.<p>

Gus looks at Sidney, trying to make her out.

SIDNEY  
>Your mother's name wouldn't happen to be<br>Karen, would it?

RJ  
>Actually it is. Do you know her?<p>

SIDNEY  
>Maybe... and that's her maiden name, right?<br>Kolchec?

RJ  
>Yeah...<p>

SIDNEY  
>(under her breath)<br>Creepy Kare...

RJ  
>What was that?<p>

SIDNEY  
>Nothing, I was just remembering something.<p>

A MAN STANDS BESIDES THE TABLE, LOOKING DOWN AT THEM. He seems distraught, tears streaming down his face. He breathes heavily, just watching them. He looks straight at Sidney and she finally notices him. This man is DOYLE KEPNER.

DOYLE  
>Sidney Prescott? My name is Doyle. Doyle<br>Kepner.

The soundtrack eeries up a bit.

DOYLE  
>And you've - - taken everything from me.<p>

SIDNEY  
>Excuse me?<p>

DOYLE  
>You don't remember me?<p>

SIDNEY  
>What was your name again?<p>

DOYLE  
>DOYLE KEPNER!<p>

The entire restaurant goes to silence. Niley stands behind him, drink in her hand.

SIDNEY  
>(realizing)<br>Oh my God... Martha's husband.

DOYLE  
>You've taken everything from me...<p>

Gus stands up, trying to lead him out. Doyle pushes him down violently.

DOYLE  
>Don't fucking touch me!<br>(back to Sidney)  
>Do you have any idea what the last four years<br>of my life have been like?

SIDNEY  
>I'm sorry, I - -<p>

DOYLE  
>I have to explain to my three children...<br>every single night... why their mother is  
>gone. And I try to think of a decent answer.<br>But no matter what I say, they just cry.  
>Momma's gone... because someone named Sidney<br>Prescott killed her.

SIDNEY  
>I didn't kill Martha.<p>

DOYLE  
>Don't you lie to me, BITCH. I know what you<br>did... I know exactly... what you did. And  
>now... I'm gonna take something away from you.<p>

DOYLE PULLS OUT A GUN AND AIMS IT AT NILEY'S HEAD. Sidney jumps up, completely horrified.

DOYLE  
>Don't you fucking move! NOBODY MOVE OR<br>I PUT A HOLE IN THIS GIRL'S HEAD!

The entire restaurants squirms, trying their best to stay still, including the workers. RJ sits there, trying to think of something. Niley drops the drink, it splattering across the floor.

DOYLE  
>Oh, don't be afraid, young girl. Dying's<br>not so bad. Can it be? Sidney kills people  
>all the time... so she must THINK there's some<br>redeeming value in it all... don't you?

SIDNEY  
>No, I don't.<p>

DOYLE  
>(squeezes the handle harder)<br>Don't you lie to me!

Niley, usually strong, whimpers.

DOYLE  
>Say it! SAY YOU ENJOY KILLING PEOPLE.<p>

Sidney looks at Niley, tears rolling out of her face.

SIDNEY  
>I don't - -<p>

DOYLE  
>I'LL FUCKING SHOOT HER! SAY IT!<p>

SIDNEY  
>Okay... okay!<br>(beat)  
>I enjoy - - killing people.<p>

DOYLE  
>(shifts)<br>Say you enjoyed killing Martha. Tell me you  
>enjoyed - - killing my wife. Say it. Say it.<br>SAY IT!

SIDNEY  
>I enjoyed killing your wife...<p>

DOYLE  
>(smiles)<br>That's what I thought...

HE TURNS HIS HEAD TO LOOK NILEY STRAIGHT IN THE EYES.

DOYLE  
>(tears fall)<br>That's what I thought.

HIS HAND SQUEEZES THE TRIGGER - - A TRAY BOUNCES HIS HAND UP, THE BULLET SHOOTING THE CEILING. RJ TACKLES DOYLE and WRESTLES the gun out of his hand. Doyle PUNCHES RJ in the face, sending him FLYING across the room. Doyle goes to grab the gun - - NILEY KNEES HIM IN THE FACE. Doyle falls back and instantly tries to get back up again.

Niley grabs a patron's tray with food on it and SLAMS IT ACROSS DOYLE'S FACE, knocking him back down. She then raises her leg, and SLAMS HER HEEL INTO HIS TEMPLE. He knocks out. Niley stands above him and wipes her tears away. Sidney comes from behind and grabs her, pulling her back before she does anymore damage.

NILEY  
>You owe my boyfriend $1.75 for that drink,<br>asshole.

CUT TO:  
>INT. SUNRISE STUDIOS THEME PARK - OFFICE - DAY<br>Kincaid and Wallace sit behind a desk, waiting. They look around at all the pictures on the wall, the progress of the park. BENJAMIN STILLS, late 50s but still a very energetic and wildly creative person, enters the room. He shakes both Kincaid and Wallace's hand and sits down.

BENJAMIN  
>Sorry, busy day. Tree lighting ceremony<br>and all.

WALLACE  
>That's okay, we understand.<p>

BENJAMIN  
>So you're here for the investigation, is that<br>correct?

WALLACE  
>Yeah.<p>

KINCAID  
>We wanted to give your roster another look.<p>

BENJAMIN  
>Well I understand but 90% of the guys who<br>work here during the Halloween season don't  
>work here off-season. And they're all apart<br>of a union so I can't really give you any  
>of their information since your warrant only<br>entails current Sunrise Studio Theme Park  
>employees.<p>

KINCAID  
>Well then I'd like to ask you a few questions<br>than. Was anyone out of the ordinary or odd  
>during the hiring process?<p>

BENJAMIN  
>Detective Kincaid, as far I'm concerned, two<br>thousand people who want to get paid to scare  
>people for a living are all a bit odd. Hell,<br>even after that, we pay them to be just a  
>little bit more odder. What can I say?<p>

KINCAID  
>Do you do background checks on your employees?<p>

BENJAMIN  
>We don't hire without one. It's state law.<p>

KINCAID  
>What about drug screening?<p>

BENJAMIN  
>Now honestly... that's a different subject<br>that we can control.

WALLACE  
>Why's that?<p>

BENJAMIN  
>These guys are beating their selves up every<br>night. If they need something to - - take  
>the edge off so they can continue, then heck,<br>who am I to stop them?

KINCAID  
>It's illegal.<p>

BENJAMIN  
>A lot of things are illegal, gentleman. Doesn't<br>mean they're all wrong.

KINCAID  
>Did any of the employees at the time have any - -<p>

Kincaid's phone rings. He quickly answers it once he sees it's Sid.

KINCAID  
>Hello?<br>(beat)  
>I'll be right there.<p>

Kincaid quickly stands up.

KINCAID  
>Sorry, I have to cut this short. My wife<br>was just involved in an incident.

BENJAMIN  
>Oh, well come back any time, gentleman.<br>My door is always open.

Wallace follows Kincaid out and Benjamin closes the door behind them.


	9. NEW VIDEO: is it Randy? THINK AGAIN

CUT TO:  
>INT. SHERIFF'S OFFICE - DAY<br>Dewey hangs up the phone, distraught. There's a knock on the door and in comes Morrison. He stands still and straight. Dewey looks at him and sighs.

DEWEY  
>At ease.<p>

Morrison than takes a seat.

MORRISON  
>What's troubling you, sir?<p>

DEWEY  
>Sidney was just harassed and threatened at<br>a cafe just outside of Windsor. We have no  
>reason to believe it was apart of the attacks<br>2 months ago though.

MORRISON  
>I'm sorry, sir, I know you really wanted to<br>get to the bottom of that.

DEWEY  
>Two months, Morrison... two. Maybe it really<br>was just a freak, isolated incident.

MORRISON  
>Possibly... or possibly we overlooked something.<p>

DEWEY  
>Maybe... but what... the only lead we had was<br>Everett Vancastle and he doesn't seem to exist.  
>(beat)<br>And all the mazes at Sunrise have already been  
>destroyed. The case has officially gone cold.<p>

MORRISON  
>Sir, with permission, I'd like to make it hot.<p>

DEWEY  
>How do you figure?<p>

MORRISON  
>One last look at the Turner Lane place. Go in<br>with fresh minds. See if we find anything new.

DEWEY  
>Morrison... you're absolutely right.<p>

CUT TO:  
>EXT. VANILLA SKIES CAFE - DAY<br>Doyle is being escorted into the cop car, Sidney and Niley watch. RJ is off to the side having his arm treated for a cut.

SIDNEY  
>My life...<p>

NILEY  
>What?<p>

SIDNEY  
>It's never going to stop, is it?<br>(beat)  
>How do you find peace, Niley? How does it<br>all end?

NILEY  
>Well... you convince the whole world that<br>you're dead. You can't find a person that  
>doesn't exist anymore.<p>

There's a beat for a moment and we slowly spin around Sidney as she takes in that last piece of info. Niley walks over to RJ to check on him. Sidney looks back at RJ with a suspicious look. She watches Niley and RJ kiss in slow motion. The music rises - - KAREN KOLCHEC, same age as Sidney and with an ever concerned look on her face - - BOLTS over to RJ, giving him a hug.

KAREN  
>Oh my God, are you okay?<p>

RJ  
>I'm fine, mom.<p>

KAREN  
>Jesus, sweetie, you scared the hell out of me.<p>

Sidney slowly turns towards them, trying not to intrude but trying to make herself noticeable. Karen looks at Sidney and suddenly goes a bit quiet.

KAREN  
>Sidney?<p>

SIDNEY  
>Karen.<p>

Karen hugs Sidney and goes back to RJ really quick.

KAREN  
>I haven't seen you in a long time.<p>

SIDNEY  
>I know... can I talk to you for a second?<p>

Karen kisses RJ on the forehead and walks over with Sidney, out of sight.

SIDNEY  
>What does the R in RJ stand for?<p>

KAREN  
>Sidney, what are you getting at?<p>

SIDNEY  
>Is that Randy's child?<p>

KAREN  
>... yes.<p>

SIDNEY  
>Why didn't you say anything?<p>

KAREN  
>What would be the point, Sidney? Who<br>would've helped me, honestly?

SIDNEY  
>I could've - -<p>

KAREN  
>You only knew me because he knew me and even<br>then, you were always running off somewhere  
>and from someone.<p>

SIDNEY  
>I would've tried.<p>

KAREN  
>This is my son and I've taken care of him<br>very well over the last 18 years since 1998.  
>Since Randy was murdered. I've since been<br>married and I have three other kids. RJ  
>doesn't need to know his father was a victim.<br>Okay?

SIDNEY  
>He never asks?<p>

KAREN  
>Nope. Never. He's never even made a slight<br>connection to what might be. And I wanna keep  
>it that way. If it keeps him safe... God knows<br>I tried to keep him away from Niley after what  
>happened 4 years ago but... when you're in love.<p>

SIDNEY  
>I know...<p>

KAREN  
>I'd appreciate it if you didn't say anything.<br>Please? He has enough to worry and think about  
>as it is.<p>

SIDNEY  
>Fine... but I'm keeping my eye on him.<p>

KAREN  
>What's that supposed to mean? Just because<br>he's related to someone you know who died  
>and you're now just discovering it, doesn't<br>mean he's a killer.

SIDNEY  
>For that sake and the sake that relatives<br>have been targeted in the recent killings, Karen.  
>For safety on all accounts.<p>

KAREN  
>What do you mean relatives have been targeted?<p>

SIDNEY  
>Those kids from two months ago were all related<br>to Steven Orth.

KAREN  
>So what are you saying? That I should take my<br>son and leave?

SIDNEY  
>No but if you want to be careful... it's been<br>two months... I can't be the judge of that for  
>you. I mean, so much has happened over the years,<br>I don't know anymore. Nothing is predictable.  
>Just be cautious and aware. That's all.<p>

KAREN  
>Okay... I'm gonna take my son home now.<p>

Karen walks away and Sidney stands there, watching them both.

CUT TO:  
>INT. 261 TURNER LANE - DAY<br>Dewey and Morrison pry open the door and enter, flashlights in hand. The place has since been abandoned by the owner after the murder.

MORRISON  
>Owner left, I see.<p>

DEWEY  
>Apparently he didn't know about the murders<br>twenty years ago. But he most certainly doesn't  
>wanna live in a house where someone has been<br>murdered now.

They make their way around to the living room. The room is eerily set up in the same TV formation as it has been for 20 years. This sends a shiver down Dewey's spine. Morrison heads off in another direction. Dewey scans his eyes across the room. He looks at where Gale's camera would've been placed on the TV setup. He smirks.

MORRISON  
>Sheriff Riley! Come look at this!<p>

Dewey spins around and heads towards his voice. He's in the closet. Morrison backs out and points his flashlight down - - a basement.

DEWEY  
>What the hell?<p>

Dewey comes closer and looks down into the basement - - there's a ladder leading down.

DEWEY  
>Stay here, Morrison, I'm gonna take a look.<p>

MORRISON  
>Sure thing, boss.<p>

INT. BASEMENT - CONTINUOUS  
>Dewey slowly climbs down the wooden ladder and comes to the floor. He lifts his flashlight up and finds - - a table in the middle of the small room with four chairs. He moves forward, examining it. The place seems recently occupied.<p>

He continues on and comes to a cupboard of some sort. He slowly opens it up - - a TV is inside, connected to a VCR. He squints and turns on the TV and then the VCR.

MORRISON  
>What do you see?<p>

DEWEY  
>Just hold on a second, Morrison...<p>

Dewey rewinds the tape inside. It reaches the beginning. He presses 'play.' BILLY LOOMIS IS FRONT AND CENTER ON THE SCREEN. The soundtrack THUMPS.

BILLY  
>What's a 90's film without the confessional<br>tape, huh?

Dewey stumbles back. Billy smiles and sits down at a couch. STU MACHER can be seen clearly behind him, typing away at the computer. They are both wearing the same clothes the night of Stu's party. From the windows, it could be morning.

BILLY  
>If you're seeing this tape, then clearly<br>you'll know who I am. My name is Billy Loomis  
>and I am here with my accomplice to the murders,<br>Stu Macher.

STU  
>Ay yo! What's up?<p>

BILLY  
>Now I have no doubt in my mind that our plan<br>will come to complete fruition but just in  
>the case that things - - don't, I've taken a<br>few precautions.

Dewey is completely sucked in. He sits down.

BILLY  
>If I do not succeed in killing Sidney Prescott,<br>and if for whatever reason I am killed or  
>arrested in the process, I want to ensure that<br>my work... doesn't go unfinished.

STU  
>Yeah, man...<p>

BILLY  
>Stu, what's our boy WaltDisney96 think?<p>

STU  
>He loves our plan, man, he thinks it's great.<p>

DEWEY  
>(under his breath)<br>Mickey...

BILLY  
>Serial killer forums. They got all sorts<br>of shit on the internet.  
>(smiles)<br>You see, I want my actions to be clear and  
>known. Studied, if you will. I went through<br>a great deal to make sure that it happened  
>and to just give up so easily to a thing<br>like - - death or prison? That would just  
>hurt. I mean after framing Cotton and all...<p>

Morrison begins climbing down the ladder and sees Dewey, completely captivated by this 20 year old VHS.

BILLY  
>Sidney Prescott... must pay. She has ruined<br>the life I once used to lead. Maybe that's not  
>fair, maybe she didn't ruin it, per se. But her<br>mother, Maureen, sure did. But we already killed  
>her, ain't that right, Stu?<p>

STU  
>Oh yeah, baby, it was good, too! Almost one<br>year ago, today!

BILLY  
>And for some reason... I just don't feel<br>quenched yet. So I simply just have to take  
>it one step further, don't I?<p>

Morrison sits down on the other side of Dewey.

BILLY  
>Now, Stu here... he's just psychotic.<br>No motive at all, ain't that right, Stu?

STU  
>(he says with a sick smile)<br>I'm a maniac.

BILLY  
>Killed his ex girlfriend and her boyfriend<br>just for the hell of it. In the sickest  
>way possible, too.<p>

STU  
>It was practice, man, we're gonna get Sidney<br>good! I'm gonna make you proud, Billy!

BILLY  
>STU, SHUT THE FUCK UP!<p>

STU  
>Damn, man, chill out.<p>

BILLY  
>I'm talking! This tape is limited! Okay? !<br>(waits)  
>Where were we? Oh, that's right... Sidney.<br>Think for a second and put yourself in my  
>shoes: when there is no one else left to blame,<br>who else is there? Hell, I can't even get  
>laid these days so why not?<p>

STU  
>I'm tappin' Tatum, daily and nightly. I'm<br>actually gonna be kinda sad when we have to  
>kill her.<p>

Dewey grows anger down to his bones that he can't even move. BILLY GRABS A CUP AND THROWS IT AT STU. It misses and CRASHES against the wall.

BILLY  
>I said shut up!<br>(beat)  
>Sorry about that... now more than likely,<br>after the horrendous events that may happen  
>tonight, this tape will surface on the news,<br>and it'll be used as... "evidence." It'll  
>be damn near mandatory. So fellow - - people<br>who are just like me... who've been hurt by  
>people like Sidney... think about it... what<br>else is there to do? And if you're seeing  
>this tape... I can think of one thing... one<br>person still out there... that you can get  
>rid of... that would end the constant pain.<br>Until than... we'll see you on the other side  
>(leans forward)<br>... of darkness.

THE TAPE ENDS and the music grows haunting. Dewey stands up, a tear almost falls from his eye from anger. Morrison doesn't say anything to be polite. Dewey sighs and looks around the room, trying to make sense of it all.

Something sparkles out of the side of his eye on a counter off to the side. Dewey approaches it and looks closer - - it's a ring. He grabs a ziplock back from his pocket and picks it up, placing it inside. He shines the flashlight on it, trying to get a better look.

MORRISON  
>What is it?<p>

It says MORRIS on the side.

DEWEY  
>We have to talk to Kirby.<p>

Dewey looks up - - A FACE STARES DOWN AT THEM FROM THE TOP OF THE LADDER. Dewey immediately draws his gun - - but the door SLAMS SHUT. Only flashlights BEAMS across the dark room.

DEWEY  
>Morrison!<p>

MORRISON  
>Right here, sir!<p>

Something can be heard being dragged across the floor above and on top of the door leading down. Dewey starts to climb the ladder and pushes on the door - - it's closed shut.

DEWEY  
>Dammit! Morrison, I need help!<p>

MORRISON  
>Coming!<p>

Morrison climbs the stairs the side of Dewey and helps him push up. The COUCH falls out of place and out of the way. Morrison jumps out first then helps Dewey up.

INT. 261 TURNER LANE - CONTINUOUS  
>They both have their guns drawn and rush passed the couch and out into the living room, searching from room to room. The front door is wide open. DEWEY RACES OUT, Morrison also treading behind. They burst out in pursuit.<p>

EXT. 261 TURNER LANE - CONTINUOUS  
>Morrison passes up Dewey and sees the man in the distance, running down the hill to get away. Dewey stops from exhaustion, trying to catch his breath. Morrison catches up and PUSHES the man to the ground, stopping him completely. He turns them over as they struggle but Morrison holds down their arms with his knees. Dewey finally catches up and looks down, trying to get a glimpse of the person that he can't see because Morrison is in the way.<p>

MORRISON  
>Who are you?<p>

YOUNG MAN  
>Get the fuck off me!<p>

DEWEY  
>What are you doing here?<p>

YOUNG MAN  
>Let me go!<p>

DEWEY  
>Morrison, keep him down, I'm gonna check<br>his wallet!

Dewey digs deep into the man's pockets and pulls out his wallet. He opens it up and looks at the ID. His name is - -

WANNA KNOW THEIR NAME? WANT MORE? Get the story up to 25 reviews and the story WILL CONTINUE (25 because I decided not to wait for the 15, plus with the update of 3 new chapters, this shouldn't be too much haha)  
>- Mark and Sidney have an argument.<br>- The man following Dewey and Morrison are questioned.  
>- What does the finding of the ring signify?<br>- What IS the Ghostface Society?  
>- Niley's Weather Girl Audition<br>- Is Gale and Eileen going to keep sitting on the sidelines?  
>- Kirby's movie premiere<br>- GHOSTFACE ATTACKS

Blood will shed more than ever before in the upcoming chapters, leading to the GRAND FINALE of the Scream saga. Keep the reviews coming from this point and on with 5 reviews per chapter and the insanity will keep on rolling without stopping until the very end!

REVIEW this chapter, old chapters and tell friends to start reading NOW!


	10. You Can't Calculate Crazy

Quick author's note: Sorry about the slight hold up people, fanfiction was not working for me for about the last 24 or so hours. So without further or do, here are the next 3 chapters and I might post a few more. BE SURE TO REVIEW *EACH* and I say that with a big please & thank you :)

CUT TO:  
>INT. WOODSBORO PD - HOLDING AREA - DAY<br>Dewey throws the ID onto the table and it comes into frame - -

DEWEY  
>Everett Vancastle. Most likely a fake name<br>to go along with this fake ID. What's your  
>real name?<p>

Everett looks up, exhausted with the hair in his eyes.

EVERETT  
>William.<p>

DEWEY  
>William? What's your last name?<p>

EVERETT  
>Fuck you and your last names. That's not<br>my real first name either. Dip shit.

MORRISON  
>You're gonna be in here all night, pal.<br>You might as well start talking. Who are  
>you? Where do you live? How old are you?<br>Where do you work? Why have you been  
>following us?<p>

EVERETT  
>I'm Everett Vancastle, I live in the North<br>Pole. I'm 186 years old but I look like I'm  
>18 because I'm really a vampire. I work with<br>the elves in Santa's Toy Factory and I was  
>just checking in with you guys to see if<br>you've been naughty or nice.

MORRISON GRABS EVERETT AND PULLS HIM INTO THE BARS OF THE CELL.

MORRISON  
>I don't have time to fuck with you!<p>

EVERETT  
>Relax, Commando! Shit!<p>

Dewey taps Morrison's arm and he drops him back.

DEWEY  
>Take it easy, Morrison. Let me do the<br>talking.

EVERETT  
>Yeah, let Sherrif Doofy do the talking.<p>

DEWEY  
>Oh... that's funny. That's REAL funny because<br>that's the first time I've heard that one.

EVERETT  
>(smirks)<br>I'm also a stand up comedian for the elves  
>at the local bar. They love me.<p>

DEWEY  
>Son, you have no idea how much shit you're<br>in, do you? Running from the law... invading  
>a crime scene... and withholding information.<br>On top of whatever it is that you've been  
>doing, that's more than just some community<br>service. That's a good year or so behind bars.  
>(beat)<br>Did you have anything to do with the death  
>of Allison Ricci?<p>

Everett is silent but he seems a bit sad now. Dewey looks at Morrison and then grabs a card out of his pocket. It's the Ghostface meme.

DEWEY  
>Do you know what this is?<p>

EVERETT  
>(sobs)<br>I can't tell you.

DEWEY  
>Tell me what?<p>

EVERETT  
>If I tell you, he'll kill me.<p>

The soundtrack thumps.

DEWEY  
>Who?<p>

EVERETT  
>The leader...<p>

DEWEY  
>The leader of what?<p>

EVERETT  
>The Ghostface Society! That's what that is.<br>It's a card, an - - acceptance card, if you  
>will. You get one of those, you're in. All<br>you have to do is join the website after that.

DEWEY  
>Is that what this code is for?<p>

EVERETT  
>You're catching on, Sheriff...<p>

DEWEY  
>What's the website?<p>

EVERETT  
>You'll never find it. They have it hidden<br>within all sorts of websites, it's a labyrinth  
>of steps you need to go through to get there.<br>Horror movie websites, hacker websites, you  
>name it. Anything underground, it's probably<br>there.

DEWEY  
>Can you show me it?<p>

EVERETT  
>If he figured out that I showed you - -<p>

DEWEY  
>So the leader is in fact a male?<p>

EVERETT  
>Well... I'm not exactly sure. Our meetings,<br>we're all wearing masks.

DEWEY  
>Meetings? !<p>

MORRISON  
>You know, you're not obligated to speak<br>unless you have an attorney present - -

DEWEY  
>Morrison, shut up! What meetings?<p>

EVERETT  
>In that basement where you saw the tape.<br>That's where we have our meetings. And  
>none of us knows the identity of one another.<p>

DEWEY  
>What type of masks? Where'd you get 'em?<p>

EVERETT  
>Isn't it obvious? Halloween Fright Nights<br>did wonders on bringing us back.  
>(smiles)<br>Well... the leader, as far as I know...  
>he wears the mask of a former killer.<p>

DEWEY  
>How? Where'd he get it?<p>

EVERETT  
>He stole it, of course. From the evidence<br>room. HERE. I'm gonna take a wild guess  
>and say that it was probably four years ago<br>when this place was...  
>(smirks)<br>... up in flames.

Dewey grits his teeth.

DEWEY  
>You admire that?<p>

EVERETT  
>Oh, Sheriff... admire it? That's where it<br>all begin. Entire groups of people heard  
>the message Ghostface was trying to give<br>that night. I mean, Ghostface Society was  
>up and running but... that was when people<br>WANTED to join.

DEWEY  
>How many people are on the website?<p>

EVERETT  
>Dozens. But only four of us meet and<br>plan out our actions. You get rid of one of  
>us... there's just another waiting to take<br>our place. Don't you see, sheriff? It'll  
>never stop. It can't stop. That night,<br>Martha Meeks and Joseph Morris created  
>something beyond anyone thought Ghostface<br>Society would go. They created a legacy...  
>something that would live on for YEARS. But<br>honestly... it was all Joseph's idea.

DEWEY  
>What?<p>

EVERETT  
>He was apart of Ghostface Society. Hell,<br>he brought me in. I didn't know it was him  
>at the time, of course but now that they're<br>both dead and the stories are out, I knew.  
>Couldn't have been Martha, she didn't live<br>here. So one night, he asks me to come to  
>Stu Macher's house in mask. He says he has<br>a tape to show me. Billy and Stu's "confessional"  
>tape. He says watching it is like initiation.<br>Immediately, I'm inspired. Who wouldn't  
>be? And then he tells me of his plan...<br>that he's going to have someone else take  
>over the radio, put the word out into the<br>world about the Ghostface Society by making  
>links of the live radio chat on the air that<br>would also lead to the Society. And then he  
>died but... it was all for a good cause.<br>Because we are now bigger than anything you  
>have ever seen. You think this will stop if<br>I'm caught? It'll only get worse once I go  
>on the news and you see me in the court room<br>and I spill out all this crap into the cameras  
>watching me live. And there's gonna be one or<br>two sick little fucks watching who just say,  
>"yes, that's what I've been waiting for!"<p>

DEWEY  
>Everett, are you admitting guilt to killing<br>Allison Ricci?

EVERETT  
>Sure, why not. I was ONE of the people<br>there doing it. But that doesn't help you  
>out much now, does it?<p>

DEWEY  
>(beat)<br>Why?

EVERETT  
>You know why, Dewey. You've made the<br>connection, I'm sure. The leader says, he  
>wants us to seek out the relatives of those<br>still living and kill them off. Weird plan  
>I thought, but hey, you can't calculate crazy.<br>Now that's all I can say without indicating  
>anyone else.<br>(beat)  
>Now can I get my one phone call?<p>

CUT TO:  
>INT. SOUND ROOM - DAY<br>Roy takes off his headphones, finishing up a set on the show. Terri takes off hers as well and approaches him.

TERRI  
>Hey, good show!<p>

ROY  
>Thanks.<p>

Roy grabs his phone and sees there's missed calls from Niley & Sidney.

ROY  
>Shit.<p>

TERRI  
>What's wrong?<p>

ROY  
>Nothing Terri, I gotta take this. Actually,<br>I'm gonna go ahead and jet. I'll see you  
>guys tomorrow.<br>(to Lennon)  
>And Lennon, no more smoking in your cage!<br>Just because you use Febreeze doesn't mean  
>the smell is enitrely gone.<p>

LENNON  
>Sorry, man!<p>

TERRI  
>But Roy - -<p>

ROY  
>I'm sorry.<p>

Roy grabs his bag and doesn't give her another second of time, leaving. Lennon walks over, joint already to his lips about to disobey exactly what Roy just said.

LENNON  
>You're trying way too hard, Terri.<p>

TERRI  
>Fuck you, Lennon, what did he just say? No<br>smoking in the sound room!  
>(beat)<br>But you might as well share since you're  
>gonna do it anyway.<p>

Lennon nods and takes out his lighter, Terri waiting patiently for a hit.

CUT TO:  
>EXT. NEWS STATION - DAY<br>Roy drives up in the parking lot and parks next to Niley's car. He immediately jumps out.

ROY  
>Niley, you're alright, right?<p>

NILEY  
>Yeah, I just wanted an extra friend with me.<br>RJ asked Morton to come along.

MORTON  
>What's up, drinking partner!<p>

Roy chuckles and they hand shake.

ROY  
>What's up, man.<p>

MORTON  
>When we going to another college party?<p>

ROY  
>Well to me, they're just parties. Ask Niley,<br>she's the one who lives in the sorority house.  
>C'mon, Niley, let's get you inside.<p>

INT. NEWS STATION - CONTINUOUS  
>Niley, Roy &amp; Morton all enter the news station, Niley in "awe" by her surroundings. Roy sees a crafts service table and he &amp; Morton immediately heads for it. Niley walks to the front desk.<p>

NILEY  
>Hi, I have an interview.<p>

SECRETARY  
>Sure, I'll have you paged in. Your name?<p>

NILEY  
>Niley Krinkey.<p>

Niley walks over to the boys, stuffing their faces in.

NILEY  
>Ugh, I wish I could eat.<p>

MORTON  
>You just went through a traumatic experience,<br>you're gonna feel that way for a while.

NILEY  
>Really? Because after I got shot, I was<br>piggin' like a mother heffer.

SECRETARY  
>Niley, they'll see you now.<p>

NILEY  
>'K, let's go.<p>

Roy stuffs a muffin in his pocket.

NILEY  
>Put back that muffin! PUT IT BACK!<p>

Roy stuffs it in his mouth instead.

INT. NEWS STUDIO - CONTINUOUS  
>A giant green screen is up on the side of the newscast desk. There's ANOTHER crafts service table.<p>

ROY  
>Oh my God, this is heaven!<p>

Roy and Morton book immediately rush toward it. Roy's phone vibrates. He answers, letting Morton get a head start on the table.

ROY  
>Hello?<p>

EXT. SOUND STAGE 18 - CONTINUOUS  
>We bounce back and forth between convos.<p>

KIRBY  
>Is Niley still doing okay?<p>

ROY  
>She's fine, a little shaken but she looks<br>like she's gonna rock this interview.

KIRBY  
>Oh my God, I'm so worried about her.<p>

ROY  
>Don't be. I'm here, if she needs anything,<br>she has me.

KIRBY  
>Eh, you kinda suck though.<p>

ROY  
>What? !<p>

KIRBY  
>(sings)<br>Nothiiiiiing.

CASSANDRA  
>Kirby! Last scene of the day! Chop chop!<p>

KIRBY  
>I gotta go. The bitch is calling me.<p>

ROY  
>(deep voice)<br>The bitch - - is back!

KIRBY  
>(chuckles)<br>Aliens. Too easy.

ROY  
>(smiles)<br>Okay honey, I'll see you at home.

KIRBY  
>(sings)<br>I love you, Rooooy.

ROY  
>I love you, too. My wife in two days.<p>

Kirby kisses the phone and hangs up, walking back into the soundstage. Roy puts his phone down at the table. Niley quickly walks up.

NILEY  
>For once in your life, Roy, seriously!<p>

ROY  
>Oh, c'mon. I'm getting married soon and<br>then it's gonna be all "you need to watch  
>your diet so you can play with the kids."<br>Just let me indulge this once!

NILEY  
>No! And Morton, you should be ashamed!<br>Your friend asks you to come watch me since  
>his mom won't let him leave and all you<br>can think about is eating?

Roy and Morton put their heads down like bad dogs.

MORTON  
>Sorry, Ms. Krinkey, it won't ever happen again.<p>

NILEY  
>Shame on both of you!<p>

Niley walks away. Roy and Morton look at each other and run back to the table. Roy looks down - - his phone is gone.

ROY  
>What the - -<p>

He checks his pockets, not there.

Niley now stands in front of the green screen, ready to shoot for the day. Behind the camera steps out JOEL, the cameraman from the Windsor Murders.

JOEL  
>Oh hell no!<p>

NILEY  
>Hi!...?<p>

JOEL  
>Nobody told me a girl involved with recent<br>murders was gonna be here! I already scraped  
>by alive before, I don't wanna have to do it<br>again!

The News Director approaches Joel.

NEWS DIRECTOR  
>Do you wanna sit this one out, Joel?<p>

JOEL  
>Yes! YES, PLEASE! And as long as an Angel<br>of Death is present, as a matter of damn  
>fact, I would like to take leave from work.<p>

NEWS DIRECTOR  
>But what if we hire her?<p>

JOEL  
>Then you lost a camera man! The best camera<br>man in the business!

Joel walks away, completely heated. Roy and Morton watch and Niley shrugs at them - - she has no idea what's going on.

JOEL  
>I move from off the field to inside the<br>studio FOR NOTHING!

Joel slams a trashcan upside down and continues his way out.

NILEY  
>Is he gonna be okay? He seemed really mad.<p>

NEWS DIRECTOR  
>Uh... he'll be fine. Let's get started?<p>

SPLICE CUT - - Niley's background has now turned into a sunny forecast of California.

NILEY  
>And as you can see, here in Los Angeles, it's<br>fun, fun, fun in the sun for everyone! So  
>go down to Santa Monica Pier and throw down<br>a blanket and soak it up!

NEWS DIRECTOR  
>Wait, wait, half of that isn't on the teleprompter.<p>

NILEY  
>Oh, I know! I learned in acting on how to<br>improvise! And I figured, Santa Monica Pier  
>is like my favorite place so I thought I'd<br>throw it in there. Good idea, huh?

NEWS DIRECTOR  
>(stern)<br>No... stick with the PROMPT.

NILEY  
>(disgusted)<br>Fine.


	11. Return of Judy Hicks & Gale's New Plan

CUT TO:  
>INT. MARK'S APARTMENT - NIGHT<br>Mark and Sidney sit in the room, Dewey talking to them through webcam.

DEWEY  
>I'm sending it over now in a scan, both<br>sides. Call me in the morning when your  
>guy gets through.<p>

MARK  
>Thanks, Dew.<p>

The feed cuts and out from the printer comes the Ghostface card, scanned. Sidney picks it up and looks at it.

SIDNEY  
>Wow...<p>

MARK  
>(taking it)<br>Stay here with my dad, I'm gonna run down  
>to the station.<p>

SIDNEY  
>Excuse me? What'd we talk about the order<br>barking?

Mark closes the door and decides not to leave.

MARK  
>Sidney, you were almost killed today.<p>

SIDNEY  
>Just another day if you ask me.<p>

MARK  
>It's not funny! Do you have any idea what<br>would happen to me if I lost you?  
>(beat)<br>I can't imagine a world without you. I  
>can't... I just can't.<p>

SIDNEY  
>I understand... but this is the same territory<br>as before, Mark. Remember? Ordering me around,  
>being over-protective, being way too paranoid?<p>

MARK  
>And for good reason, apparently! I told you<br>to stay in Hawaii.

SIDNEY  
>What, for two months? Nothing has happened<br>until now! And I highly doubt Doyle has anything  
>to do with this Ghostface Society. We caught<br>one, if anything we're winning.

MARK  
>You know that's not true. You know that there<br>are now plenty more of them out there. I  
>don't even want you to take a DRIVE with me<br>because I'm afraid someone will run us off  
>the road and try to take you. THAT'S how<br>scared I am. Can't you just do me this favor  
>and leave until I get this all sorted out?<br>I'll miss you... but it's better than you  
>being gone permanently.<p>

SIDNEY  
>I'm staying here. Kirby and Niley, they need me.<p>

MARK  
>I'll have people watching over them.<p>

SIDNEY  
>It's not enough, Mark! Wherever I am,<br>if they want me, they'll just lure me out  
>somehow anyway. I might as well be here,<br>in case it happens!

MARK  
>(fuming)<br>I'll be back. We'll talk about this later.

Mark exits his apartment. Roger slowly peeps from around the corner.

ROGER  
>I'm sorry, I couldn't help but over hear...<p>

SIDNEY  
>That's okay, pops. You want something to<br>drink? I could sure use a drink right about  
>now!<p>

Sidney makes her way to the kitchen.

ROGER  
>No, no, I'm fine.<p>

SIDNEY  
>(pouring a glass)<br>I'm sorry that Mark has you staying here  
>for two whole months. You now how he is<br>though.

Roger sits down at the couch.

ROGER  
>Well he's gone now, you think I could<br>sneak out? You won't tell on me, would ya?

SIDNEY  
>(taking a sip)<br>He's my husband.

ROGER  
>He's just doing what he thinks is right.<br>I taught him that anyway, this is all  
>really my fault. If I wasn't like this<br>with his mother, he wouldn't know this type  
>of treatment of people.<br>(beat)  
>I just wanted to make sure he kept the ones<br>he truly loved, safe.

SIDNEY  
>Well he sure is doing a bang up job.<p>

CUT TO:  
>INT. LOS ANGELES PD - NIGHT<br>Mark enters and makes his way toward PORTER - - an early 20s nerd with big glasses and has had their whole life in front of a computer. Mark puts the scan print out in front of his screen.

MARK  
>Do you know what that is?<p>

PORTER  
>Ghostface Society?<p>

MARK  
>(sits down)<br>Oh, so you do.

PORTER  
>Of course, I do, it's my job to. I've<br>never actually got in the website but I  
>have heard of it.<p>

MARK  
>Well Porter, would you like to?<p>

Porter stops typing and turns to mark like a kid getting a present for Christmas. Mark smiles - - the first smile he's had in awhile.

PORTER  
>Really?<p>

MARK  
>(turns the paper around)<br>There's the code.

PORTER  
>Oh my God! This is amazing!<p>

MARK  
>I know no other hacker I would love to give<br>this to more than you.

PORTER  
>Detective Kincaid, you are the best!<p>

MARK  
>Lemme know what you find tomorrow morning.<br>I need IP addresses of all the members, all  
>of their recent email activity, the works.<p>

PORTER  
>Oh, you kidding me? I'll be on there tonight!<p>

MARK  
>Well I'll be sleeping so don't call me<br>too soon.

PORTER  
>You the man, Kincaid!<p>

CUT TO:  
>INT. SHERRIF'S OFFICE - NIGHT<br>Dewey sits at his desk and looks on at JUDY HICKS - - she hasn't changed much aside from a few added pounds.

DEWEY  
>That night, four years ago, you didn't<br>see anyone come into the building while  
>it was on fire?<p>

JUDY  
>No, Dewey. I didn't see anything. But<br>we did leave right after and there were  
>so many cops and firefighters helping out,<br>it could've been anyone who went into the  
>evidence vault.<p>

DEWEY  
>Yeah...<br>(beat)  
>I'm sorry, Judy but there's just a few things<br>I have to ask you, as precaution.

JUDY  
>That's fine.<p>

DEWEY  
>(sighs)<br>Where were you between the year 2000 and 2008?

JUDY  
>What?<p>

DEWEY  
>Well I know you were an actress. You tried out<br>for the role in Stab 3. And then 2008, you joined  
>the force. So what were doing between than?<p>

JUDY  
>Well there's no definite answer...<p>

DEWEY  
>Try to think of one.<p>

JUDY  
>I was... this is embarassing, Dewey.<p>

DEWEY  
>Judy, this is me.<p>

JUDY  
>I was pregnant. But I got rid of the kid. It was<br>with some sleazy writer I knew. He wanted to  
>keep it, I didn't. He wasn't a very nice guy<br>to begin with. So I went back to the 'boro  
>and when I got here... I was homeless. My family<br>wanted me to be independent so I lived in my car  
>for as long as I could. I got the abortion<br>after I finally got a steady job. I even  
>tried to get back into acting and even rekindle<br>something with George, the writer, but I couldn't  
>find him; apparently he changed his name. And then<br>I joined the force because I wanted to make a  
>difference for the day when I was serious about<br>having a kid, you know?  
>(beat)<br>And that day came, so I quit. I was having  
>too many brushes with death to be in this field<br>while taking care of a kid.

DEWEY  
>How is little Alex these days anyway?<p>

JUDY  
>He's good, he's with his father this weekend.<br>He wasn't a nice man either but this time,  
>something told me to hang on to it and try<br>to make it work. It didn't but at least now  
>I have a wonderful son. Sometimes I regret<br>getting rid of the first one, ya know? But  
>then I think about George and my living<br>situation and that kid would've hated me.

DEWEY  
>Judy, it's okay. I don't - - doubt your<br>abilities as a mother.

JUDY  
>I just want someone who will accept me, ya<br>know? Who will WANT to want me, not just  
>be stuck with me because of a one night stand.<br>Someone that I actually like and that likes  
>me for me.<p>

DEWEY  
>Thank you for your honesty, Judy.<p>

Gale bursts through the door with Eileen. She stops, shocked to see Judy there.

GALE  
>Oh, I didn't know you had company.<p>

DEWEY  
>That's okay, Gale. Judy was just leaving.<p>

JUDY  
>(stands up)<br>Hi Gale.

There's a slight moment of "should I hug you?" before they do.

GALE  
>Dewey, a word?<p>

DEWEY  
>Sure.<p>

GALE  
>(to Eileen)<br>Wait for me outside, will ya?

EILEEN  
>Sure!<p>

Eileen and Judy exit. Gale tries her best not to snap at Dewey.

GALE  
>You catch someone that admits to being in<br>a "Ghostface Society" and you don't tell me?

DEWEY  
>Gale, I - -<p>

GALE  
>NO. You listen to me! This is the same<br>SHIT over again. You not trusting me with  
>information. How long is this going to go on<br>for? You think you're protecting me by not  
>telling me, Dewey?<p>

DEWEY  
>Yes! Because I know if I tell you one thing,<br>you'll just go snooping around until you  
>find yourself in more trouble! It's the same<br>reason I told you to stay in New York four years  
>ago! It's the same reason I didn't want you<br>investigating the case 6 months before that!

GALE  
>For the record, I saved your ass on both of<br>those!

DEWEY  
>... not on the second one. In the hospital,<br>kind of - -

GALE  
>You were knocked out from a BED PAN, for<br>crying out loud.

DEWEY  
>- - and I arrived after you shot Martha the<br>second time - -

GALE  
>Yeah and where were you before that?<p>

DEWEY  
>I was here when my men were dying, Gale!<br>Do you know how embarassing that is? To be  
>the laughing stock of the town already but<br>then to be the only sheriff in all of the  
>region to have more than half of their men<br>killed on their watch?

GALE  
>You've since gotten more competent, don't<br>beat yourself over the head about it.

DEWEY  
>I can't help it! And then I'm married to<br>you and you always do better than me, Gale.  
>Like you said, I'm a '6' and you're a '10'!<p>

GALE  
>(beat)<br>Dewey, c'mon, I was just mad - -

DEWEY  
>No, you meant it. I heard it in your voice.<p>

GALE  
>What are you, a fucking human lie detector now?<p>

DEWEY  
>Gale, get out!<p>

GALE  
>(sighs)<br>Can I talk to Everett Vancastle or not? Or do  
>I have to hear some stupid reporter's take on<br>the incident on the news once again?

DEWEY  
>(puts his foot down)<br>You are no longer a journalist, Gale. So yeah,  
>you'll have to hear about it on the news.<p>

Gale fumes out of Dewey's office. Dewey puts his head down on the table.

DEWEY  
>(head jumps back up)<br>Ow!

A thumbstack is sticking out of his skull.

DEWEY  
>(pulls it out and throws it)<br>Jesus.

CUT TO:  
>EXT. WOODSBORO PD PARKING LOT - NIGHT<br>Gale storms back to her car and enters to Eileen sitting there and waiting. Eileen looks up at her, Gale taking a moment to recollect.

GALE  
>I'm done with cooking, Eileen.<p>

EILEEN  
>You've said that everyday for the last 2 months.<p>

GALE  
>No, I'm REALLY DONE. And I know you HAVE to<br>be, too. This must be killing you. You  
>were cutthroat in college, Eileen! What<br>happened? When did you lose your edge?

EILEEN  
>I became a mom.<p>

GALE  
>So? ! Since when does housewife equal up<br>to boring, home-body? Haven't you ever  
>watched Desperate Housewives? They're<br>always solving a mystery! Every season!

EILEEN  
>That's a show.<p>

GALE  
>But it's encouraging. I would know, I<br>watched every episode on DVD back to back  
>over the last year out of boredom! And<br>not 'till now is it HITTING me that I  
>can't - - live my life without this aspect<br>in it. Do you know what I mean?

EILEEN  
>No.<p>

GALE  
>Journalism at it's finest. Down and dirty,<br>going undercover! We're back together,  
>Eileen, this is what we should be doing! The<br>stuff we used to love to do 25 years ago!  
>Why isn't this suddenly sparking a plug in<br>your joints like it is for me?

EILEEN  
>I have kids to think about, a husband, a<br>grocery list - -

GALE  
>Listen to yourself. When did you become<br>so fucking boring?

This hits Eileen hard. She's hurt but she doesn't try to show it.

GALE  
>What's next? Knitting?<p>

EILEEN  
>What do you suggest we do, Gale?<p>

GALE  
>Well there's supposedly 4 killers, we have<br>one in custody. One of the killers was at  
>the theme park the night of the incident so<br>one of them HAD to be working there at the  
>time or probably still is.<p>

EILEEN  
>So what are you getting at?<p>

GALE  
>We sneak in. Look around, see if we find paperwork,<br>ANYTHING. These cops, they don't care  
>about the evidence. They're just doing their<br>job and going home. It's the journalists  
>who dig deep, Eileen. And that's you and<br>me. Or you and I, whatever, if you wanna  
>be grammatically correct!<p>

EILEEN  
>So you want to sneak into Sunrise Studios<br>Theme Park and try to find evidence or  
>paperwork on whoever was working during<br>Halloween Fright Nights?

GALE  
>Yes. If we can find ANYTHING, that's one<br>more person caught, meaning we're half way  
>to solving a case that's been cold for 2 months.<p>

EILEEN  
>Gale... fine... you know what? I'm in.<p>

JUDY (O.S.)  
>Me too.<p>

Gale looks back and sees Judy approaching the car from the side. She bends down and leans her head on the door.

GALE  
>Judy, please don't tell my - -<p>

JUDY  
>Don't worry about it. I wanna help.<p>

GALE  
>You do?<p>

JUDY  
>I've been out of action for nearly 2<br>and a half years. You have any idea how much  
>I miss the deputy work? And you're not<br>going to get in there just you two. You'll  
>get caught... you need somebody who's gonna<br>have your back when you're on the inside.  
>Count me in.<p>

Gale's eyes open wide and she looks at Eileen, her face filled with Glee. Eileen gives a nervous smile and Judy raises her eyebrows in excitement.


	12. Lennon's Final Scream & Kirby's Cousin

CUT TO:  
>INT. SOUND BOOTH - NIGHT<br>Lennon and Terri sit down under the soundproof glass, a joint between Terri's lips. She exhales the smoke and passes it over to Lennon.

LENNON  
>The scariest fuckin' movie ever... is<br>Signs. Aliens just creep me out, man.

TERRI  
>Signs? Are you serious?<br>(chuckles)  
>You're a little bitch!<p>

LENNON  
>No, no, no way, man. That movie is brilliant.<br>I mean... the way everything happens in it, it  
>just all seems so... real. Ya know? Like if<br>it were to really happen.

TERRI  
>A lot of things could really happen, doesn't<br>mean the movies based off it means they're  
>scary.<p>

LENNON  
>You know what? No, fuck you. You're just<br>an M. Night hater.

TERRI  
>You're gosh damn right, I am! Name ONE<br>movie he's done in the last DECADE that has  
>at all been worth any value to the cinematic<br>world?

LENNON  
>Uh, lemme think, ALL OF THEM.<p>

TERRI  
>Really? Lady in the Water?<p>

LENNON  
>Misunderstood masterpiece.<p>

TERRI  
>The Happening? TREES, LENNON. TREES and<br>PLANTS and OXYGEN were the villains in that  
>movie.<p>

LENNON  
>But think of the idea though. Imagine you<br>really wake up one day and everyone around  
>is just... you know? I don't even like<br>saying it, it creeps me out.

TERRI  
>The idea was scary. The execution was shit.<p>

LENNON  
>I disagree, man.<p>

TERRI  
>Okay, there is NO WAY in hell you can tell<br>me you liked The Last Airbender.

LENNON  
>Fuckin' loved it.<p>

TERRI  
>No!<p>

LENNON  
>It was an awesome kids movie.<p>

TERRI  
>You are so full of shit.<p>

Terri's phone buzzes. She looks down at it; it's from Roy. She opens the text: "come over." She immediately writes back with the joint in her mouth: "What do you wanna do?" Lennon keeps blabbering. Roy writes back, "you know ;)". Terri smiles victoriously and replies: "be there in 15."

LENNON  
>- - he's had such a hard time after the<br>wild success of The Sixth Sense and just  
>because none of his other movies weren't<br>as good as it doesn't mean he's not a  
>great filmmaker. I mean, compare his other<br>movies to any other movies and they're all  
>great but if you just look at his filmography,<br>and go film by film, you just feel disappointed.  
>I understand, it's a natural response. But<br>if you watch them as stand alone movies,  
>they're brilliant, man!<p>

TERRI  
>Lennon, you must be stoned. Look dude,<br>I'ma jet. Plus it's late and we have  
>the morning shift tomorrow so if we don't<br>show up, nobody will until 3 PM and our  
>"sponsers" will be pissed they're not getting<br>their advertising in.

LENNON  
>Alright man, I'ma just hang back though and<br>finish this last joint.

TERRI  
>(stands up, putting on her jacket)<br>And the trick to getting rid of MJ smell  
>is light a cigarette and THEN spray Febreeze.<br>Dumb ass.

Terri walks out. Lennon just chuckles, puffing in his joint. He slowly starts to make his way up - - SCARECROW WATCHES HIM FROM BEHIND THE GLASS WINDOW. Lennon continues smoking his joint and then Scarecrow DUCKS DOWN.

Lennon turns around and enters back into the other room. He looks around really quick and grabs his jacket then turns off the lights. He starts to make his way out - - SCARECROW COMES FROM BEHIND AND STABS HIM IN THE BACK and THROWS him to the ground. Lennon HOWLS in pain, trying to crawl away.

LENNON  
>You son of a bitch!<p>

Lennon gets up, loses his footing and falls against the glass. SCARECROW STABS THE KNIFE TOWARD HIS HEAD BUT LENNON DUCKS, THE KNIFE IMAPLING THE GLASS. Lennon tackles Scarecrow against the radio equipment and tries to wrestle the knife out of their hands. Scarecrow grabs a mug and SMASHES it against Lennon's head, knocking him back.

Scarecrow jumps up and PLUNGES THE KNIFE INTO LENNON'S CHEST, KNOCKING HIM BACK INTO THE SOUND PROOF WINDOW. HIS BODY SLOWLY SLIDES DOWN TO THE GROUND, LEAVING A STREAK OF BLOOD. SCARECROW PICKS HIM BACK UP to the glass and begins STABBING HIM RAPIDLY EVEN MORE.

CUT TO:  
>INT. WINDSOR HALLWAYS - NIGHT<br>Terri walks along, smiling about what might happen with Roy. Her phone buzzes. She looks down; it's Lennon. "You forgot something here." She scoffs and makes her way back.

INT. SOUND BOOTH - CONTINUOUS  
>Terri enters the room.<p>

TERRI  
>Okay Lennon, what I forget?<p>

She stops and notices the window - - BLOOD COVERING IT FROM TOP TO BOTTOM. She slowly walks backwards, trying not to jump to any conclusions.

TERRI  
>Lennon?<p>

LENNON'S BODY BURSTS THROUGH THE WINDOW AND ONTO THE FLOOR. TERRI SCREAMS AND BOLTS FOR THE DOOR. SCARECROW HOPS OVER OUT OF THE BROKEN WINDOW AND CHASES AFTER HER.

INT. WINDSOR HALLWAYS - CONTINUOUS  
>TERRI SPRINTS DOWN THE HALL, SCARECROW NOT FAR BEHIND. She turns the corner - - A KNIFE JABS INTO TERRI'S MOUTH, LODGING IT INTO HER THROAT. Terri flips onto the floor from the hard blow and squirms around. Bloodred comes into view and watches her, trying to keep moving from getting stabbed in the mouth.<p>

The knife penetrates her mouth and out the other side of her neck. She slides it out, crawling on her knees and spits up blood. She keeps trying to crawl but she's been far too dizzied. Bloodred slowly walks behind her and picks up the knife from the ground.

Bloodred grabs Terri by her hair, pulling her up. She's incapable of screaming. Bloodred then DRAGS HER down the hall back towards the sound booth. She pleads with her hands, trying to convince the hands dragging her.

INT. SOUND BOOTH - CONTINUOUS  
>Bloodred SLAMS Terri's half lifeless body next to Lennon's completely ripped to pieces one. Scarecrow enters from behind and looks at Bloodred. They nod to each other. Terri watches in agony as they both BEGIN TO APPROACH HER, KNIVES OUT AND READY TO SLICE! The screen goes to BLACK!<p>

CUT TO:  
>INT. KIRBY'S APARTMENT - NIGHT<br>Roy unlocks his front door and enters - - A SMOKING HOT BLONDE, WET AND IN TOWEL STANDS IN FRONT OF HIM BENDING DOWN LOOKING INTO A SUITCASE. Roy drops his keys and the girl jumps up, turning around. It's SARAH REED, Kirby's late 20s and super hot cousin.

SARAH  
>(she giggles)<br>Shit, you scared me!

ROY  
>I'm sorry, um... who-who-who are you?<p>

SARAH  
>I'm Sarah. Kirby's cousin.<br>(puts her hand out)  
>Nice to meet you... ?<p>

ROY  
>Roy. Kirby's fiance.<p>

SARAH  
>Oh, right, right! Sorry, I forgot you<br>lived here.

Roy finally closes the door from the shock of it all and Sarah goes back to her suitcase.

SARAH  
>I hope you don't mind that I let myself in<br>and I took a shower?

Roy checks her out but tries his damn best not to.

ROY  
>Oh, it's fiiiine. Take all the showers you<br>want.

SARAH  
>(nervous laughs)<br>Thanks. You excited for the premiere tomorrow?  
>I've never been to one!<p>

ROY  
>Yeah, very excited. Kirby's movie is<br>gonna be...  
>(he catches glance of her legs)<br>Fuckin' amazing. Jesus Christ.

SARAH  
>Haha, you seem ecstatic.<p>

ROY  
>You have no idea.<p>

The door opens behind him, it's Kirby. She stops, her eyes widening from seeing Sarah there.

KIRBY  
>Sarah! You're half naked! With my fiance<br>in the room!

SARAH  
>I'm sorry, I didn't know either of you would<br>be here just yet.

KIRBY  
>(hitting his chest)<br>Well I text Roy here to wait up for me!

ROY  
>Oh, I lost my phone today. Sorry.<p>

KIRBY  
>Oh, that explains it. Where was the last place<br>you had it?

ROY  
>I honestly can't remember. I just remember<br>talking to you but I don't know if that  
>was in my car or ...<br>(watches Sarah a bit more)  
>... somewhere else.<br>(beat)  
>There was a lot of food and that's honestly<br>all I remember.

KIRBY  
>(noticing he's trailing off)<br>Sarah, can you take your bag into another  
>room and find your clothes somewhere else?<p>

SARAH  
>Sure! Sure! Sorry.<p>

Sarah drags her suitcase into the other room. Roy watching intentively. He can't even hide it anymore. Kirby smacks Roy at the top of his head.

KIRBY  
>Pervert.<p>

Kirby walks off.

ROY  
>(sighs)<br>Sorry.

CUT TO:  
>INT. OMEGA BETA ZETA HOUSE - NILEY'S ROOM - NIGHT<br>Niley brushes her hair in the mirror and puts her retainer in her mouth. Nessa enters the room and lays on her bed.

NESSA  
>Hey Niley.<p>

NILEY  
>Hey Nessa.<p>

NESSA  
>You glad you joined Omega Beta Zeta?<p>

NILEY  
>Yeaaaah.<p>

NESSA  
>Today must've been scary, huh? That lunatic<br>at the cafe?

NILEY  
>Eh, been there, done that.<p>

Niley turns to Nessa with a "just kidding" smile. Nessa smiles back and opens up a magainze.

NESSA  
>You know if you ever need to talk...<br>about anything at all. Boy problems...  
>theater problems... school, anything.<p>

NILEY  
>Thanks, Nessa. You really are like...<br>a sister!

NESSA  
>Well, we're here for each other.<br>(beat)  
>You should leave.<p>

Niley turns around on her stool and looks at Nessa with bunched eyebrows.

NILEY  
>Why?<p>

NESSA  
>They're coming, Niley. And whatever they<br>ask of you, just say no. They're using you.

NILEY  
>Who? Lois and Murphy?<p>

NESSA  
>Yes.<p>

NILEY  
>I don't understand...<p>

NESSA  
>They wanted you to fill the popularity<br>quotiant of the house since you're a  
>celebrity. I lied to you before when you<br>asked if it was about your semi-fame. But  
>I just couldn't lie to you any longer.<br>(whispers)  
>I'm sorry.<p>

Niley feels crushed.

NESSA  
>They're trying to win best house on Sorority<br>Row. They wanna seem complete and full.  
>Voting starts tomorrow... but to show you<br>that I actually care, you should leave  
>right now.<p>

NILEY  
>(tears come to her eye)<br>I actually thought I was special. I mean,  
>I know they liked my red hair but...<p>

Nessa tears up her self and jumps up to the edge of Niley's bed and puts her hand on her knees.

NESSA  
>Niley, you are! But they can't see that<br>because they're so - - blind for stardom  
>on campus.<br>(beat)  
>Just leave.<br>(beat)  
>I'll come with you.<p>

NILEY  
>No... it's okay. I'll stay. They can win<br>whatever prize they want... and then I'm  
>leaving.<p>

Niley turns back around and continues brushing her hair.

NESSA  
>I'm sorry, I should've told you sooner.<p>

NILEY  
>You were just being dedicated. Nothing<br>wrong with that, Nessa...

Nessa feels like shit and she returns back to her bed. There's a knock on the door. Lois and Murphy both enter simultaneously without being called in.

MURPHY  
>There's our superstar!<p>

Niley continues brushing with a bitter expression. Nessa wathes from the bed, trying to hide her face while reading the magazine. Lois and Murphy sit on the edge of Niley's bed, trying to talk to her.

LOIS  
>Is something wrong, sweetie?<p>

NILEY  
>Nope... everything's fine.<p>

MURPHY  
>... how did your weather girl interview go?<p>

NILEY  
>Great. I got it in the bag. For sure. You<br>can tell everyone that.

LOIS  
>That's great! Hey, but look... tomorrow is<br>the votes for best sorority on the row and  
>we could use your help.<p>

NILEY  
>(remaining expressionless)<br>What do you need?

MURPHY  
>Well, they need a girl to represent each house.<br>Someone to vouch for everything that goes on  
>in the inside and everything we're trying to<br>do for the campus.

LOIS  
>For the better, ya know? Leave out all the<br>rituals and initiation stuff.  
>(laughs nervously but briefly)<br>Think you can do that? It should be really  
>easy?<p>

NILEY  
>Sure. Just lemme know when. I'll be rehearsing<br>all day tomorrow.

MURPHY  
>Oh, so you're NOT going to the premiere?<p>

NILEY  
>No. We open in two weeks... and I want to be<br>perfect...  
>(turns and smiles blankly)<br>... just for you.

Lois and Murphy smile at each other.

LOIS  
>Well that sounds great, Niley! We'll see<br>you in the morning!

They both run out and close the door behind them.

NESSA  
>I'm sorry, again, Niley.<p>

Niley stops brushing her hair and gets into bed and looks over at Nessa on her bed.

NESSA  
>What?<p>

NILEY  
>I don't blame you. I like you.<p>

NESSA  
>Thanks, hon'!<p>

NILEY  
>Hey... is it just me... or does Lois seem<br>kinda like an axe murderer?

NESSA  
>(giggles)<br>Just a little bit. She has that certain flair  
>about her though. I think it's the hair.<p>

NILEY  
>And that "I'm gonna rip out your organs"<br>look in her eye.

They both giggle like they're at a slumber party. Nessa throws her magazine at Niley and she returns it back. They truly are friends.

NILEY  
>Goodnight, sis.<p>

NESSA  
>G'night.<p>

Niley turns off her side of the room's lamp. Nessa follows suit... but stops for a moment while looking down at Niley as her eyes close to sleep. Nessa tilts her head, watching her almost passionately... AND CLICKS THE LIGHT OFF. THE SOUNDTRACK THUDS.

35 reviews, yeah? Shouldn't be too hard if each one of you review the last three chapters. Coming up:  
>- Gale's Infiltration of Sunrise Studios Theme Park!<br>- About half a dozen deaths!  
>- THE PREMIERE and SO MUCH MORE<br>From that point and on... THE GRAND, THREE PART FINALE (which should be up in about 2 or 3 days after the next couple of chapters are out of the way)  
>Hang tight... things are about to kick into high gear ;)<p> 


	13. Infiltration of Sunrise Studios

CUT TO:  
>INT. SUNRISE STUDIOS PARKING ENTRANCE - DAY<br>Judy's car drives up to the parking attendant, and Judy gives him some money, paying the fee. The attendant quickly looks inside: Gale in the passenger seat, Eileen in the back. He hands them their parking pass and Judy makes her way in.

INT. PARKING STRUCTURE - CONTINUOUS  
>Judy parks and they all quickly get out. Gale looks up at a security camera pointed in the other direction.<p>

GALE  
>Good choice, Hicks.<p>

EXT. THEME PARK ENTRANCE - CONTINUOUS  
>Gale, Judy and Eileen all take their tickets from the box office and make their way to the entrance. They enter and look around - - things look much normal now that Halloween Fright Nights is gone and the Christmas celebration is under way. Eileen looks over to an "employees only" area. She tugs on Gale's shirt and nods her head in that direction. They all make their way over.<p>

INT. EMPLOYEES ONLY HALLWAY - CONTINUOUS  
>The hallway goes down a long corridor, windows on both sides - - the offices of Sunrise Studios Theme Park. They all quickly duck down under the windows and crawl to the end of the hallway into the "locker room."<p>

INT. EMPLOYEES LOCKER ROOM - CONTINUOUS  
>They enter, Gale quickly closing the door. There's no lock.<p>

GALE  
>Eileen, that mop and bucket.<p>

Eileen kicks the bucket over and Gale wedges the mop handle under the door knob, securing it shut. They all pan around the room for a moment.

EILEEN  
>Okay... now what?<p>

JUDY  
>Outfits. Look for a closet.<p>

They spread out across the locker room. Judy finds a closet and opens it up - - a hand full of janitorial outfits.

JUDY  
>And bingo was his name-o!<p>

Eileen and Gale run over, quickly throwing on the orange jump suits over their clothes. They also grab a pair of goggles and a safety hat.

GALE  
>Now we need a map.<p>

Eileen spots a map on the wall and waves them over. They look at it.

JUDY  
>This place is huge.<p>

EILEEN  
>Well what are we looking for exactly?<p>

GALE  
>Performance locker rooms, maybe the theme<br>park director's office?

EILEEN  
>(points)<br>They're both on the lower lot, next to  
>Prehistoric Scream.<p>

GALE  
>Okay, let's go.<p>

EXT. LOWER LOT ENTRANCE - CONTINUOUS  
>A long stairway of escalators down lead to the lower lot. The three of them look at it daunting. Eileen points over to the side.<p>

EILEEN  
>An elevator.<p>

GALE  
>Oh, thank God.<p>

JUDY  
>I'll race you two down!<p>

Judy runs towards the escalators and takes the stairs ALL the way down instead.

GALE  
>Crazy ass...<p>

Gale and Eileen approach the elevator. The Elevator Man quickly stands in their way from the side.

ELEVATOR MAN  
>Hello ladies.<p>

GALE  
>Hey there...<br>(looks for a nametag but one isn't  
>found)<br>Elevator guy!

ELEVATOR MAN  
>I haven't seen you around before.<p>

EILEEN  
>Oh, we're new. Just starting today.<p>

ELEVATOR MAN  
>Really? You didn't get any name tags?<p>

EILEEN  
>Uhhh, NOPE! Can't say we have.<p>

ELEVATOR MAN  
>I also see you didn't get the new janitor<br>outfits.

EILEEN  
>Oh, about that... they said... that the<br>new ones are in the washer right now and  
>just use these instead.<p>

GALE  
>Yeah, we're really busy. We need to get<br>to the lower lot, STAT.

ELEVATOR MAN  
>Okay. You did get your employee numbers<br>though, right?

EILEEN  
>Uh...<p>

ELEVATOR MAN  
>You need it to start the elevator...?<p>

GALE  
>Oh right! Yeah, we have those, thanks!<p>

The Elevator Man presses the button for the doors to open. Gale and Eileen quickly enter and wait for the door to close. The Elevator Man says something into his walkie talkie but it's inaudible.

INT. ELEVATOR TO THE LOWER LOT - CONTINUOUS  
>Gale and Eileen rest against the elevator wall.<p>

EILEEN  
>We should've just took the stairs!<p>

GALE  
>Okay... let me think... what would be our<br>employee number...?

EILEEN  
>I thought you had an idea, you said "yeah!"<p>

GALE  
>Just so we could pass through! Move!<p>

Gale shoves Eileen aside and starts tapping numbers into the mainframe. DENIED. She quickly tries another 6 digit combination. DENIED. Eileen checks her pockets. There's a small piece of paper in there. She hands it to Gale.

GALE  
>Eileen, I love you.<p>

She enters the numbers. The elevator SHIFTS down.

EXT. LOWER LOT - CONTINUOUS  
>The elevator doors open. Judy is already standing there, tapping her feet waiting.<p>

GALE  
>Don't be such a show off.<p>

They continue onward, looking around the theme park and try to seem as normal as possible in the crowd. Eileen pulls out her map.

EILEEN  
>Okay, the performance lockers are just ahead.<p>

JUDY  
>Where's the theme park director's office?<p>

EILEEN  
>Up over here, to the left.<p>

JUDY  
>Okay, I'll go check it out and look through<br>the files. You guys go ahead and look at  
>the lockers. We'll meet back up by the<br>elevators in 15.

GALE  
>Sounds like a plan.<p>

Judy runs up ahead while Eileen and Gale keep moving forward. They reach the performer's locker room and enter.

INT. PERFORMER'S LOCKER ROOM - CONTINUOUS  
>Gale quickly closes the door once again and pulls up a table to keep it from opening. Eileen is already looking at the lockers.<p>

EILEEN  
>They all have locks on them.<p>

GALE  
>Find two pliers. I'm gonna look for the<br>performer's schedule to see when their next  
>shift ends.<p>

EILEEN  
>What?<p>

GALE  
>We're gonna bust them all open and see if<br>we can find something.

EILEEN  
>Gale - -<p>

GALE  
>You wanna get to the bottom of this, don't you?<br>Now get moving!

Eileen runs to the maintence closet. A giant pair of pliers sits on the rack.

EILEEN  
>Okay, I found one, I just need the other.<p>

Gale searches the bulletin board, looking for a schedule.

GALE  
>Okay, we have 10 minutes total until the<br>next lunch break! Start popping those locks!

Eileen hurries and bursts the first locker open. Gale runs to the maintence locker to find another pair of pliers. She sighs and grabs a wrench.

GALE  
>Aw, dammit.<p>

Gale takes the wrench and grabs hold of the lock then twists it all the way around until it snaps. It works but it just takes an extra 2 seconds of time. Eileen grabs the bags inside the opened lockers and spills the contents out onto the floor. She quickly searches through and continues on.

GALE  
>C'mon, there's dozens of these!<p>

EILEEN  
>I'm working as fast as I can!<p>

Gale searches through the bags. Nothing.

EILEEN  
>It would help if there were a particular<br>thing we knew to look for!

GALE  
>Just keep going!<p>

CUT TO:  
>INT. BENJAMIN'S OFFICE - DAY<br>Judy enters the room and quickly LOCKS the handle. She looks around, scans the desk and goes to the filing cabinet. She wastes no time, pulling the employee records out. She gets to the October files. She shifts them all, trying to read them as fast as she can. Her phone buzzes: it's Dewey. She answers.

INT. DEWEY'S CAR - CONTINUOUS  
>Dewey is racing down the freeway, it seems urgent. We cut back and forth between conversations.<p>

JUDY  
>I'm a bit busy right now, Dewey.<p>

DEWEY  
>Judy, I was overlooking the case over here<br>at 261 Turner Lane and something you told  
>me yesterday really caught my attention<br>and synced up with your story.

JUDY  
>What?<p>

DEWEY  
>The owner of Stu Macher's house name is George<br>Redman.

JUDY  
>(beat)<br>My George?

DEWEY  
>Your George. He lived there ever since<br>the mid 2000's He probably figured if you  
>were gonna go looking for him, inside the<br>'boro would be the last place you'd go.

JUDY  
>(clearly upset but not letting it<br>jeapordize the mission)  
>He always was smart.<p>

DEWEY  
>And get this, Judy, I think he might be<br>a prime suspect in the case.

JUDY  
>Why's that?<p>

DEWEY  
>Everett was telling us that the meetings<br>for the Ghostface Society took place in  
>his basement for over a couple of years.<br>Something George would have had to have  
>known about.<p>

JUDY  
>(shocked but still trying to keep moving)<br>You're absolutely right.

DEWEY  
>Now get this: George bought the house in<br>that name then quickly changed it. So, the  
>records on computer file would still say<br>George but primarily his new name. But  
>here at our department, we have only hard<br>copy files of any of the housing ownerships.  
>Whenever we get new ones, we throw the old<br>ones out. Those read the name as Tony  
>Monroe for the address. So hard copy, Tony<br>Monroe. Computer files, George Redman.

JUDY  
>(trying to get to the point)<br>Okay. So what's your point!

DEWEY  
>Point being he probably knew you joined<br>the force AND somehow knew about our hard  
>copy situation. We only use the county<br>computer files when we absolutely have to.

JUDY  
>Yeah, I figured that!<p>

DEWEY  
>(beat)<br>And then he changed his name once more.  
>And here's the bomb, Judy: after his failed<br>writing career, he decided to work for  
>Sunrise Studios Theme Park. When he got<br>the job, he changed his name to Benjamin  
>Stills.<p>

THE SOUNDTRACK THUMPS. Judy freezes and drops the files. She slowly turns her head to the plaque on the front of his desk. She turns it around: BENJAMIN STILLS.

DEWEY  
>He's the theme park director so he controls<br>all of the festivities that go on over there.  
>Meaning he planned the Stab-centric Halloween<br>Fright Nights. Coincidence that not only  
>was someone murdered in his house on the same<br>night someone is murdered at the theme park?  
>AND it's Stu Macher's old house where the<br>Ghostface Society meetings take place? I think  
>not!<br>(beat)  
>Judy, are you there?<p>

JUDY  
>... Yeah...<p>

DEWEY  
>I'm on my way over to the theme park; Kincaid<br>and Wallace are busy with something at the  
>hospital so they wanted me to check it out<br>since I was in the area. I'm about three minutes  
>away.<p>

Judy looks up... A SHADOW COMES TO THE DOOR AND PEERS THROUGH THE GLASS.

JUDY  
>Okay, Dewey, gotta go!<p>

Judy hangs up and quickly unlocks the door, SLAMS SHUT THE FILING CABINET and RUNS TO THE BATHROOM. THE DOOR opens... Benjamin walks in, exhausted from what seems like a day's work. Judy hides behind the bathroom door, trying to control her breathing. Benjamin walks to his desk and notices his plaque has been moved. He shrugs and walks towards the bathroom - - he stops at a filing cabinet next to the door frame. He opens it and takes out a bottle of Whiskey and pours himself a glass.

Judy silently prays "thank you" and waits for his footsteps to walk back across the room. He sits down in his chair, sipping his drink. She tries to peek out, to see what he's doing. She quickly looks back into the bathroom and sees a window heading out above the toilet - - but the toilet is situated right in front of the door. "Shit."

She then uses her hand and foot, pushing on the door, trying to close it without him noticing, centimeter by centimeter. He continues drinking and turns on the TV. On is a reporter, talking in front of the Woodsboro Police Department.

TV REPORTER  
>- - the suspect claims to be apart of a<br>Ghostface Society and even takes the credit  
>for a string of killings that happened<br>nearly two months ago. They are currently  
>being held in the Woodsboro Police Department<br>as the suspect has been cooperative. We  
>can not give out the suspect's identiy as<br>they are a minor.

CUT TO:  
>INT. PERFORMER'S LOCKER ROOM - DAY<br>They search through everything, finishing a whole row and they continue onto the next one. Gale looks at her watch.

GALE  
>5 minutes!<p>

They pop locks at break neck speeds. Gale looks off to the side really quick and notices a sign on a door, saying "to section 3."

GALE  
>Eileen, I'ma go check this out.<p>

EILEEN  
>Check out what?<p>

GALE  
>Section 3 was the area the Stab maze was<br>built on. I'ma see if I can find anything.

EILEEN  
>Well hurry back!<p>

Gale runs over and opens the door. She looks inside the large like warehouse. It's empty aside from a few planks of wood thrown into a corner. She decides to enter anyway and grabs a brick off to the side, prying open the door.

Eileen SNAPS open a locker and looks inside... something dark is inside. She puts her hand in and looks at it...

EILEEN  
>Oh my God...<p>

CUT TO:  
>INT. BENJAMIN'S OFFICE - DAY<br>Judy sweats bullets, still trying to close the door even further without it even making a squeak. KNOCK KNOCK KNOCK on the hard glass the room over. Judy ducks back. Benjamin gets up, hides his glass of alcohol in a drawer and answers - - there stands Dewey and Morrison.

BENJAMIN  
>How may I help you?<p>

DEWEY  
>Benjamin Stills? I'm Sheriff Riley, this<br>is Deputy Morrison. May I have a word with  
>you for a moment?<p>

BENJAMIN  
>Sure.<p>

Benjamin lets them in and Benjamin grabs the door to close it. Judy watches out of the crack left still from the open door. She waits to close it shut to sync in time with Benjamin closing his office door. CLUNK. She then quickly looks up at the window and jumps on top of the toilet, opening the window and starts to climb out.

MORRISON  
>Actually, I was wondering if I could use the<br>bathroom first?

BENJAMIN  
>Sure, go ahead.<p>

Morrison puts his hand on the handle and begins opening the door. Judy squeezes her way out. He enters - - the window's shut. She's out.

CUT TO:  
>INT. PERFORMER'S LOCKER ROOM - DAY<br>Judy BANGS on the door, scaring Eileen.

JUDY  
>Let me in!<p>

Eileen runs over and pushes the table out of the way, letting Judy in. Judy looks down at the mess while Eileen pushes the table back.

JUDY  
>What the hell did you do?<p>

EILEEN  
>I know, it's crazy but we found something!<p>

JUDY  
>What? And where's Gale?<p>

The brick CRACKS, breaking it in half and the back door SHUTS. Gale turns around and runs to it, pulling on the handle. SHE'S LOCKED INSIDE.

GALE  
>Hey! Open the door!<p>

Voices can be heard coming from outside.

JUDY  
>Oh crap!<p>

Eileen runs over to the section 3 door and whispers.

EILEEN  
>Gale, be quiet, someone's coming!<p>

Eileen tries to think quickly and PULLS Judy into a locker with her, CLOSING IT SHUT. Hands wobble on the handle and PUSH but the table is in the way. They then try harder, forcing their way in.

CUT TO:  
>INT. BENJAMIN'S OFFICE - DAY<br>Dewey sits nervously in front of Benjamin, who looks at him with observing eyes.

BENJAMIN  
>So Sheriff Riley, what'd you want to talk about?<p>

DEWEY  
>I'd like to wait for my partner to get out<br>of the bathroom actually.

CUT TO:  
>INT. PERFORMER'S LOCKER ROOM - DAY<br>THE DOOR PUSHES OPEN. In comes a GIANT COSTUMED BEAR. He looks down at the floor.

BEAR  
>(still in cutesy bear talk)<br>What the fuuuuuck?

He runs out and back down the hall. EILEEN AND JUDY burst out of the locker. JUDY HOLDS THE GHOSTFACE COSTUME IN HER HANDS.

JUDY  
>Why would you put us in a locker with the<br>fucking costume in it?

EILEEN  
>I couldn't think, I'm sorry!<p>

GALE  
>Hello! Let me out!<p>

Eileen runs over and unlocks the door, letting Gale back in. She sees the costume.

GALE  
>You found it? !<p>

JUDY  
>Yes, but we gotta go now! Your husband is<br>here!

GALE  
>What? !<p>

The costumed bear can be heard coming back down the hallway. Judy stuffs the costume in one of the bags laying on the ground and throws it over her shoulder.

The bear enters the room, now with a giant costumed dog.

DOG  
>No waaaaay.<p>

Gale, Judy and Eileen all are picking up the stuff off the ground.

GALE  
>Who would have done such a thing?<p>

JUDY  
>It's so horrible! It's such a big mess for<br>us to clean!

EILEEN  
>(in a spanish accent)<br>Someone is out to get us, ah, El Diablo!  
>Curse you! Curse you, El Diablo!<p>

Gale and Judy look at her, "what the fuck?"

GALE  
>... tone it down a notch...<p>

BEAR  
>Did you see who did this? !<p>

GALE  
>Yeah, yeah, actually, we did! We heard about<br>this and came in to help clean and on the way  
>we saw... a guy, no, TWO GUYS, running out<br>towards employee parking.

DOG  
>Let's go kick their ass!<p>

The Dog and the Bear pound their fists and march out of the room.

GALE  
>Diablo?<p>

EILEEN  
>I panicked!<p>

GALE  
>This shows, you've been getting rusty!<p>

JUDY  
>Shut up, let's go!<p>

The three run out the door.

CUT TO:  
>INT. BENJAMIN'S OFFICE - DAY<br>Morrison finally comes out from the bathroom, sweaty. Benjamin watches him, concerned.

BENJAMIN  
>You okay there?<p>

MORRISON  
>Enchiladas.<p>

BENJAMIN  
>Okay... why we here?<p>

THE SPRINKLERS GO OFF and the ALARM SOUNDS.

DEWEY  
>Son of a - -<p>

All three than rush out of the room and into the hallway where people POUR out of their offices. Benjamin gets lost amongst them, Dewey trying to catch up.

DEWEY  
>Stills!<p>

BENJAMIN  
>I have to go take care of this, I'll be<br>right back!  
>(to the employees)<br>No running, you can slip! Keep calm!

DEWEY  
>(sighs)<br>Dammit!

CUT TO:  
>INT. ELEVATOR UP TO THE UPPER LOT - DAY<br>Judy, Gale and Eileen stand in the elevator, looking up at the "floor counter." Red lights beam overhead. THEY'RE STOPPED.

JUDY  
>Okay, now's the time to panic.<p>

Gale bends down and looks at the mainframe.

GALE  
>There has to be a button here somewhere!<p>

Eileen looks up at the ceiling.

EILEEN  
>(to Judy)<br>Give me a boost!

Judy lets her hand out and Eileen steps on her hand, pushing her up to the ceiling. Eileen slides over a ceiling board and looks into the elevator shaft. THERE'S A DOOR.

EILEEN  
>I see a door!<p>

GALE  
>(looking up herself)<br>Where?

EILEEN  
>It must be to the emergency staircase.<p>

JUDY  
>Well wouldn't the elevator at least start<br>back up and take us to the door?

GALE  
>We don't have time for that, Judy! Eileen,<br>do you think you can reach it?

EILEEN  
>Definitely, it's only about 5 feet up.<p>

GALE  
>Okay, go!<p>

Eileen crawls all the way up and into the elevator shaft. She then crawls up and pulls herself up to the door. She grabs the handle and PUSHES it open. Gale is now being lifted up and starts making her way up. Eileen helps her up and onto the staircase. Judy jumps up in one swift hop and pulls herself out of the shaft. IT BEGINS MOVING UP.

GALE  
>Judy, hurry up!<p>

It ACCELERATES QUICKER AND PASSES THE DOOR BEFORE JUDY CAN REACT.

GALE  
>Crap!<p>

Judy looks up - - THE CEILING IS COMING QUICKER. There's another door on the way. She braces herself to jump and burst through the door.

On the emergency staircase, Gale and Eileen make their way up to the next door. JUDY BURSTS THROUGH AND LANDS ON HER SIDE. The elevator stops... and the doors open. Ding. Judy semi-faints.

GALE  
>Oh, don't pull that crap again.<p>

Gale and Eileen help her up and they run up the rest of the stairs, reaching the top. The crowd of people are making their way towards the exit. All three of them stop and pull off the jumpsuits and then blend theirselves within the crowd. They've made it.

CUT TO:  
>INT. PARKING STRUCTURE - DAY<br>Gale, Eileen and Judy run for Judy's SUV and hop in, squealing in victory. Judy starts the SUV and backs out, exiting before anyone even knows they were there.

INT. JUDY'S SUV - CONTINUOUS  
>Eileen pulls out the Ghostface costume from the backseat and examines it.<p>

EILEEN  
>There's dry blood on it.<br>(she throws it and screams)  
>There's blood on it!<p>

GALE  
>Be professional, woman!<p>

EILEEN  
>Sorry, if it freaks me out!<p>

GALE  
>Are you serious? ! Now all we need to know<br>is who's locker it is and we found the fucker!

JUDY  
>I think I know whose it might be.<p>

GALE  
>Whose?<p>

JUDY  
>My ex boyfriend... he works there. He's<br>the theme park director.

Eileen unwraps a locker assignment sheet and looks it up and down.

EILEEN  
>Well is his name Randy Kepner, Jr.?<p>

GALE  
>What?<p>

EILEEN  
>That's who the locker belongs to.<p>

GALE  
>(snatches the paper)<br>Oh shit... that's Niley's boyfriend! Judy,  
>step on it, woman!<p>

JUDY SLAMS ON THE ACCELERATOR, GETTING ON THE LOS ANGELES FREEWAY ON RAMP, DUCKING IN AND AROUND CARS. THE TIRE POPS and Judy pulls over to the side of the road.

JUDY  
>... any of you know how to change a tire?<p>

GALE  
>All those years in the force, you never learned? !<p> 


	14. Up in Flames: Escape

CUT TO:  
>INT. LOS ANGELES HOSPITAL - CHUCK'S ROOM - DAY<br>Kincaid and Wallace sit across from Chuck, who lays in bed, groggy and his words still slurring.

CHUCK  
>When I saw him, he was goin' after my sister.<br>And that's the last thing I remember.

KINCAID  
>Do you remember how tall they were?<p>

CHUCK  
>Well I'm 6 foot 6... this guy was a little<br>bit shorter, maybe the same height but definitely  
>not taller. But I don't know, it was - - it's<br>so blurry now.

KINCAID  
>Take your time with the details, Chuck. No<br>rush.

WALLACE  
>We know things seem a little hazy at this<br>point.

CHUCK  
>(whimpers)<br>I just... can't believe their dead, ya know?  
>It was my idea... mine. And now they're gone<br>because of me...

KINCAID  
>You can't blame this on yourself.<p>

CHUCK  
>They're dead and I'm still here. Why? I can't,<br>I don't understand. It makes no sense. I've  
>missed their funerals, I've missed... I never<br>even got to say goodbye.  
>(sobs)<br>That's what hurts the most. It's my fault  
>they're dead and I never got to say goodbye.<p>

Chuck sobs uncontrollably. The nurse enters the room.

CHUCK'S NURSE  
>I'm sorry but Charlie needs to rest. Coma<br>patients who just awake need a lot of time  
>to sort things out. It's gonna take awhile.<br>Come back tomorrow.

KINCAID  
>Alright. Get better, Chuck.<p>

WALLACE  
>Yeah... stay strong, kid.<p>

CHUCK  
>Thank you.<p>

Kincaid and Wallace exit the room and go down the hall.

WALLACE  
>Any word from Dewey yet?<p>

KINCAID  
>No, we should head over there. See what's<br>taking so long.

WALLACE  
>What about Porter, has he hacked into the<br>site?

KINCAID  
>No, actually, he hasn't called me. We'll<br>stop by, it's on the way.

CUT TO:  
>INT. WOODSBORO POLICE DEPARTMENT - DAY<br>A VAN parks in a spot close to the door. Out come TWO people we can only see from behind, wearing ORANGE JANITORIAL jumpsuits, the collars popped up to cover the sides of their face and they wear dark shades. They enter the police department, carrying mops and tools.

JANITOR #1  
>(disguising their voice)<br>We heard about a burst pipe in the cell area.

WOODSBORO SECRETARY  
>Yeah, inmate shit is getting everywhere. It's<br>in the back to the left.

JANITOR #1  
>Thank you.<p>

They continue onward toward the back, looking around the room to see if they're going by unnoticed. They enter into the holding area...

INT. WOODSBORO PD HOLDING AREA - CONTINUOUS  
>The two enter the room. The guard by the door greets them and gets a KNIFE INTO THE CHEST BY JANITOR #1 and quickly CUTS THE SURVEILLANCE FEED. The guard at the end of the hall watches in horror and PULLS THEIR GUN. JANITOR #2 RUNS AT BREAK NECK SPEED TOWARDS THEM, BEFORE THE GUARD CAN EVEN AIM AND SLICES THE KNIFE UPWARD INTO THE BOTTOM OF THEIR JAW, BLOWING THEM TO THE FLOOR.<p>

None of the janitors look at Everett and keep their head turned away. Everett smirks. Janitor #2 pulls out another janitor costume and hands it to Everett, their head still turned away. He can't see them and they can't see him.

INT. WOODSBORO SECURITY ROOM - CONTINUOUS  
>Two guards watch the monitors and notice the "holding" one is out. One guard nudges the other and nods to the monitor. He sighs and gets up, walking over there himself.<p>

INT. WOODSBORO PD HOLDING AREA - CONTINUOUS  
>Janitor #2 unlocks Everett's cell and they start their way out towards the door, now 3 janitors. The security room guard enters the room and sees the bodies on the floor. He goes to draw his gun - - EVERETT FLINGS A KNIFE INTO THE GUARD'S ADAM'S APPLE. The guard falls to their knees, in shock and bleeding to death. As they reach the door, Everett pulls the knife out of their neck and continues out in one swift motion.<p>

INT. WOODSBORO POLICE DEPARTMENT - CONTINUOUS  
>The three janitors make their way towards the door. The secretary watches them, suspicious.<p>

WOODSBORO SECRETARY  
>You fixed it that fast?<p>

JANITOR #1  
>Yup.<p>

WOODSBORO SECRETARY  
>Wasn't there only two of you... ?<p>

They don't answer and walk out the front door. The secretary makes her way back towards the holding area, looking back to keep a steady eye on the three janitors now getting into the van. She opens the door - - BLOOD EVERYWHERE. SHE SCREAMS.

EXT. WOODSBORO PD PARKING LOT - CONTINUOUS  
>Janitor #2 finishes putting a flaming hand towel in the gas tank of a cop car next to the entrance and runs back to the van, the engine already running. FOUR COPS IMMEDIATELY RUN OUT, THEIR GUNS DRAWN. They begin to SHOOT.<p>

The van SPEEDS OUT OF THE PARKING LOT, not wasting anytime. They continue firing - - THE COP CAR EXPLODES, BLOWING UP THE ENTIRE ENTRANCE OF THE DEPARTMENT AND KILLING OR BURNING ALL FOUR MEN OUT FRONT. The front of the building catches fire, and IT SPREADS ACROSS THE ROOF.

CUT TO:  
>EXT. PANDORA THEATER - DAY<br>Outside of the luxorious Pandora Theater, the movie premiere takes place, looking as extravegent as ever. Reporters, the red carpet, lights flashing and advertisements abound for "Walking With Gorillas" with Julia Roberts's face plastered across all of them.

PREMIERE REPORTER  
>The stars have aligned tonight in Tinsletown<br>as we get ready for this winter's biggest  
>romantic comedy, "Walking With Gorillas,"<br>starring Julia Roberts. We are only merely  
>just minutes away and the red carpet is alive!<br>We are now awaiting actress, Cassandra Poe,  
>who is supposed to be making a surprise<br>appearance here tonight to announce the  
>release date of her new film. Also making<br>a surprise visit is Ackerman Steel, the  
>director of the latest Batman travesty who<br>is trying to make a comeback with his latest  
>film. We'll be here so stay tuned and see<br>what's in store!

The guests arrive into the theater in which there's a sign: "since this film has not been released into theaters yet, please store all phones here until after the movie to help us avoid any unlawful filming or sound recording of the movie. Thank you." They abide, dropping the phones into little baskets which are then stored into a cubby with a number.

CUT TO:  
>EXT. SUNRISE STUDIOS THEME PARK - DAY<br>Dewey and Morrison stand within the crowd, trying to look above them for Stills. In Dewey's cell phone holder, his phone is ringing. Through the crowd... he can't hear it.

DEWEY  
>Where do you think he's been for so long?<p>

MORRISON  
>No idea.<p> 


	15. Cassandra's Dark Home

CUT TO:  
>EXT. CASSANDRA'S MANSION - DAY<br>Cassandra's limo pulls up to her long and winding drive way and parks. Out comes Cassandra, dressed in her outfit for the current movie she is shooting. She quickly runs to the door while talking on the phone.

CASSANDRA  
>Yeah, I just got home, I need to get dressed<br>for the premiere though. I'm already late.  
>(beat)<br>Yeah, I'll tell him when I see him there.  
>(beat)<br>I would but I'm not gonna stick around for  
>that shit movie, you kidding me? "Walking<br>with Gorillas, written by Kirby Reed?" Psh.  
>And starring that hack Julia Roberts? Puh-lease!<br>I'll wait for HBO.  
>(beat, her phone beeps)<br>Okay, I'll talk to you later than. Someone  
>is on the other line anyway.<p>

Cassandra reaches her door and clicks over.

CASSANDRA  
>Hello?<p>

GHOSTFACE  
>Hello Cassandra...<p>

CASSANDRA  
>Hey Ackerman, I'm sorry I'm late, I'll<br>be there in a minute, I just got home.

GHOSTFACE  
>This isn't Ackerman...<p>

CASSANDRA  
>Oh...<br>(looks at her phone; restricted)  
>Than who is this?<p>

GHOSTFACE  
>I think you know exactly who this is...<p>

CASSANDRA  
>Oh! Kirby! Sorry, I forgot you're into<br>all this twisted and demented shit after  
>being stabbed twice. Must suck, huh?<p>

Cassandra opens her door and enters.

INT. CASSANDRA'S LIVING ROOM - CONTINUOUS  
>The lights are off and it's dark. There's an eerie quiet about her house.<p>

GHOSTFACE  
>Not Kirby either... make another guess.<p>

CASSANDRA  
>Okay, some douche bag who got my number?<br>I'm glad you're a fan, see my movie in  
>the Spring! Okay, buh bye!<p>

She hangs up and turns on the lights. The house is giant and she runs up the stairs. Her phone rings in mid-step; restricted again. She answers anyway.

CASSANDRA  
>I'm sorry, did I not make my point clear?<p>

GHOSTFACE  
>Cassandra, that wasn't very nice...<p>

CASSANDRA  
>Eh, I'm not a nice person. Unless you pay me.<p>

Cassandra reaches the top of the stairs and clicks on the next set of lights, illuminating a PICTURE ON THE WALL - - it's Cassandra as a much smaller kid with JENNIFER JOLIE, the actress who played Gale Weathers in the first three Stab films.

GHOSTFACE  
>You would think you would know better,<br>considering your aunt DIED by a Ghostface  
>masked killer who makes threatening phone calls!<p>

CASSANDRA  
>No, shit head, I get these calls all the<br>time. You think you're the first one,  
>huh? You think you're the first one to<br>try and SCARE ME?

GHOSTFACE  
>No... but I am the first one to be in your<br>house when making the call.

CASSANDRA  
>Oh, yeah, right, where are you? My closet?<p>

GHOSTFACE  
>Somewhere a little more apparent.<p>

CASSANDRA  
>Well I'm sure security would've picked<br>you up, buddy. Seriously, the fun and  
>games are over. Call me again and I'll<br>call 9-1-1.

GHOSTFACE  
>Perhpas you should. They'll need to<br>come carry you out in a BODY BAG in just a  
>minute!<p>

Cassandra FINALLY reaches her room and stops at her door.

CASSANDRA  
>Cute. But you're not scary.<p>

GHOSTFACE  
>What is scary? Oh, I know what is... that<br>feeling when you get home to an empty house at night  
>and all the lights are off and the only thing you<br>can think of is the crazed lunatic waiting  
>for you at the edge of your bed with an axe.<p>

The floor creeks. Cassandra hesitates to open her door.

GHOSTFACE  
>You hesitate each time you turn on a light to<br>another room, bracing yourself for what might  
>be there waiting for you... in the dark...<p>

CASSANDRA  
>(a bit shaken now)<br>Ah. Creative.

GHOSTFACE  
>Open the door... if you dare<p>

CASSANDRA  
>If you are there, I'm gonna beat the shit<br>out of you. I have a black belt in Tae-  
>Kwon-Doe.<p>

GHOSTFACE  
>BRING IT... I'M WAITING.<p>

CASSANDRA PUTS HER HAND ON THE DOOR... AND SWINGS IT OPEN... her room is pitch black in darkness. She slowly walks towards the frame of the door...

GHOSTFACE  
>Do you see me? Turn on the light for a better view...<p>

CASSANDRA  
>(obviously lying)<br>I did. You're not here.

GHOSTFACE  
>Not ah... I would know...<p>

Her hand slowly slides up the wall, trying to find the switch. Her breathing increses... she reaches it...

GHOSTFACE  
>Waiting in the dark... just for you...<p>

THE MUSIC RISES. SHE FLICKS THE SWITCH. It's empty. She breathes a sigh of relief.

CASSANDRA  
>You fucking liar.<p>

GHOSTFACE  
>Cassandra... I NEVER LIE.<p>

THE DOOR SWINGS BACK AND GHOSTFACE POPS OUT FROM BEHIND. Cassandra screams and SPRINTS BACK TOWARDS THE STAIRS.

CASSANDRA  
>Somebody help me!<p>

GHOSTFACE DIVES AFTER HER but BARELY misses slicing her ankle. Cassandra runs down all the stairs, carefully trying not to trip. Ghostface pursues her, JUMPING passed dozens of stairs getting closer and closer. LEAPING DOWN AT A RAPID PACE. She reaches the front door - - GHOSTFACE SLAMS HIS KNIFE FROM BEHIND, NEARLY MISSING HER HEAD.

Cassandra ducks out of the way and runs towards the dining room. She grabs a chair and HURLS it in his direction. Ghostface merely SLAPS it and it breaks into pieces. Cassandra continues running and goes into the kitchen and ducks down under the counter. Ghostface FLIPS THE DINING ROOM TABLE and stops by the edge of the entry way to the kitchen.

CASSANDRA GRABS A KITCHEN KNIFE and waits... nothing comes... she pokes her head out... nothing there. She grabs her phone and starts to dial. 9 - 1 - HER PHONE RINGS: Restricted. She answers!

GHOSTFACE  
>You're making this much more harder than it<br>has to be, Cassandra.

CASSANDRA  
>Leave me alone!<p>

GHOSTFACE  
>I just wanna be friendly, that's all.<p>

CASSANDRA  
>Friends - friends don't stab friends!<p>

GHOSTFACE  
>I don't wanna stab you... I WANNA RIP YOU OPEN<br>and SPILL YOUR GUTS ACROSS THE ROOM!

Cassandra cries and hangs up, going back to dialing. 9 - 1 - THE PHONE RINGS AGAIN. She answers again.

CASSANDRA  
>Just go away!<p>

GHOSTFACE  
>I thought you knew Tae-Kwon-Doe, Cassandra,<br>I'm a bit disappointed now.

CASSANDRA  
>Please. Please, just go. Please. We can<br>talk about this tomorrow, right? C'mon. Please!

GHOSTFACE  
>Well this is new...<p>

CASSANDRA  
>Seriously! Just come back tomorrow and<br>whatever problem you have with me, we'll  
>just sort this shit out! Okay? We'll<br>talk it out like two civilized people!

GHOSTFACE  
>... you can't - be fucking - serious.<p>

CASSANDRA  
>I'll pay you... I'll pay you, whatever<br>you want! Name the fee, I'll give it to you.  
>What do you want, a million? Two million?<p>

GHOSTFACE  
>Sidney Prescott.<p>

CASSANDRA  
>What?<p>

GHOSTFACE  
>Give me Sidney Prescott and I'll let you LIVE.<p>

CASSANDRA  
>Uhhhh, I don't know her but I know someone<br>who does and - and - and she can get her  
>for you.<p>

GHOSTFACE  
>That's not good enough, Cassandra!<p>

CASSANDRA  
>Fine, fine, uh, she'll be at the premiere<br>tonight and I'll get to know her. I'll  
>invite her over for drinks and you can be<br>waiting then BAM! You got her! All yours!

GHOSTFACE  
>Wow... what a pathetic excuse for a human<br>being. You'd really do that?

CASSANDRA  
>Yes! ... no! Whatever you wanna hear!<br>Just tell me what you want me to do!

GHOSTFACE  
>I wanna know if you'd really do that or<br>not. I wanna know how big of a piece of  
>shit you really are, Cassandra...<p>

CASSANDRA  
>I... no, I wouldn't. That's wrong to do.<br>I would never do that!

There's silence.

GHOSTFACE  
>... I was actually gonna take you up on that<br>offer! Now you're lying to me? !

THE MUSIC INTENSIFIES.

CASSANDRA  
>No, no, I'll do it, I'll do it!<p>

GHOSTFACE  
>You may be an actress, but you're not THAT good!<p>

CASSANDRA  
>I swear! I swear to GOD!<p>

GHOSTFACE  
>TOO LATE.<p>

GHOSTFACE POPS OUT FROM ABOVE THE COUNTER AND GRABS CASSANDRA'S HAIR, PULLING HER UP AND ONTO THE COUNTER. She SWINGS the knife at him and he SLAPS IT OUT OF HER HANDS.

CASSANDRA  
>Please, please!<p>

He raises his knife! She quickly THROWS HER LEGS UP and wraps them around his head in a scissor hold and FLIPS him over her body and he FLIES to the floor and INTO A GLASS TABLE. She jumps down and runs back out to the front door.

Ghostface jumps back up and runs around the other way. Cassandra opens the door - - A HAND PULLS HER BACK IN BY HER MOUTH BEFORE A SCREAM CAN ESCAPE. She struggles, kicking and screaming. Ghostface THROWS her to the floor and in front of the entertainment center. He then KICKS her in the chest, knocking her down.

CASSANDRA  
>(trying to gain back her breath)<br>No, NO!

Ghostface then stands behind her large, flat screen TV set and begins to TIP IT OVER. She lets out a final SCREAM. IT LANDS ON HER FACE. CRUNCH. She stops moving. A single spark shoots out. She's done for.

He tilts his head... "where have we seen this before?" Ghostface walks away. HER BODY SPRINGS TO LIFE, SCREAMING BLOODY MURDER and Ghostface SWINGS around, amazed she's still alive.

She crawls away, in complete shock and blood pouring down her face. Ghostface slowly walks behind her, calculating his next move. He looks down at her feet pushing her body forward to move away. HE RAISES HIS BOOT AND STOMPS on the back of her heel, CRUSHING it down to her toes. She falls down on her chest, screaming in pain and turns over, holding her foot. CRUSHED BONE POPPING OUT OF HER SHOE. Ghostface circles around her, taunting her.

CUT TO:  
>INT. WINDSOR THEATER - DAY<br>Niley takes her phone and puts it in to her backpack then walks towards the stage and sits on the edge, trying to get into her woeful character. An acoustic guitar player sits beside her. He begins to play a soft tune.

GUS  
>CRUSH US, NILEY. MAKE US FEEL SOMETHING!<p>

Niley blocks him out and let's the time come. She begins to sing. It's "The Spider" by Weezer (youtube . com /watch?v=FG-cYqEjqc4).

NILEY  
>There's a spider in the drainand he's  
>feeling painand he doesn't want to die/  
>any more than you or I.<p>

CUT TO:  
>INT. CASSANDRA'S HOUSE - DAY<br>Cassandra continues to cry. Niley's song plays in the background. She makes her way to the table and pulls herself up.

NILEY (O.S.)  
>He's struggling to live but he doesn't<br>have much time/anymore than you or I/  
>you or I.<p>

CASSANDRA  
>Get it over with, you son of a bitch! Do<br>it!

Ghostface brandishes his blade and slowly approaches her as she winces from the very thought of it.

CUT TO:  
>INT. WINDSOR THEATER - DAY<br>The song skips to (2:10).

NILEY  
>Cause I'm up here in my own cell/it could  
>be heavenit could be hell/we'll never  
>know just who we arebecause when we die/  
>we become a starand stars can't talk/  
>because they haveno mouth to speak/  
>about their pastthey simply shine up  
>in the skyand give their light to you  
>and I.<p>

CUT TO:  
>INT. CASSANDRA'S HOUSE - DAY<br>Ghostface comes close to her face, she tries to remain strong. HE STABS HER IN THE STOMACH and blood spills from her mouth. He THROWS HER to the ground in the middle of the entry way.

NILEY (O.S.)  
>And where would we be without their<br>light?/We'd call out names and start a  
>fightbut then again that's what we do/  
>I hate me and I hate you too.<p>

She lays there in pain, bleeding out. Ghostface watches her then looks up and back down at her. He then starts to climb the stairs... we go to GOD'S EYE VIEW above her, the camera twirling upward slowly.

NILEY (O.S.)  
>Cause I'm in painjust like the spider/  
>in the drainI am a fighter/but I can't  
>winI've got to lose/give me strength  
>to see me throughand ease the pain that  
>I must feelas my bones break and I taste  
>the steel... as I go down - -<p>

We hear a SLICE from above and from BEHIND THE CAMERA, a CHANDELIER COMES CRASHING DOWN TOWARDS CASSANDRA. Glass and metal SHATTER and the electricity slowly starts to dim out from it with sparks BURSTING OUT. The house goes DARK.

NILEY (O.S.)  
>- - the drain.<p>

SILENCE.


	16. Porter's Sparking Moment

CUT TO:  
>EXT. LA FREEWAY - DAY<br>Judy and the girls get back in the SUV, the tire now fixed. They begin getting back on the highway, SPEEDING OFF.

CUT TO:  
>INT. APARTMENT HALLWAY - DAY<br>Mark and Wallace make their way down the hallway. They stop at Porter's door. Wallace knocks - - it opens. They look at each other really quick and put their hands on their holsters. Mark goes in first, Wallace staying behind by the door.

INT. PORTER'S APARTMENT - CONTINUOUS  
>The entire apartment is dark. Mark cautiously moves forward.<p>

MARK  
>Porter? You here?<p>

Mark feels crunching beneath his feet. He looks back at Wallace.

MARK  
>Turn on that light.<p>

WALLACE  
>You got it.<p>

Wallace flicks the light - - A SPARK SHOOTS PASSED MARK'S HEAD. He looks on as the lights flicker and circuits fry - - PORTER'S DEAD BODY IN A CHAIR WITH A COMPUTER MONITOR SHOVED INTO HIS STOMACH WITH HIS GUTS LAYING ON THE SIDE OF THE CHAIR ON THE FLOOR. The monitor sparks and BURNS the edges of his hollowed out stomach.

MARK  
>Oh my God...<p>

Porter's body IGNITES into flames.

MARK  
>Get the fire extinguisher!<p>

Wallace RACES out of the room and down the hall.

INT. APARTMENT HALLWAY - CONTINUOUS  
>Mark backs out of the room, his arm covering his mouth from the smoke and to make room for Wallace to come in. Wallace runs to the extinguisher box - - it's gone.<p>

WALLACE  
>It's not here!<p>

THE EXTINGUISHER SMASHES AGAINST WALLACE'S HEAD FROM THE HALLWAY BEHIND HIM. He falls to the ground and Mark runs forward, drawing out his gun. SCARECROW STANDS ABOVE WALLACE AND STABS HIM DIRECTLY IN THE FOREHEAD. Mark FIRES, 1, 2, 3 SHOTS INTO SCARECROW'S CHEST! Scarecrow FALLS back onto the floor.

MARK  
>WALLACE!<p>

Scarecrow JUMPS UP AND FLINGS THE KNIFE INTO MARK'S SHOULDER, KNOCKING HIM TO THE GROUND. Scarecrow then SPRINTS OUT TOWARDS THE EMERGENCY EXIT. MARK LOOKS UP AND FIRES TOWARDS THE END OF THE HALL. SCARECROW JUMPS OVER THE RAILING AND OFF THE SIDE OF THE BUILDING.

MARK  
>DAMMIT!<p>

Mark crawls his way to Wallace. He takes out his phone and begins to dial.

MARK  
>Wallace!<p>

It's clear, he's dead. Mark jumps to his feet and runs towards the emergency exit, holding his shoulder and looks outside down at the parking lot. Scarecrow is GONE.

MARK  
>FUUUUUUUCK!<p>

CUT TO:  
>INT. PANDORA THEATER - DAY<br>At the top of the balcony, Kirby, Roy, Sarah and Sidney all sit together, looking down at the screen.

KIRBY  
>You'd think for writing a movie, you'd get<br>a closer seat to the action.

ROY  
>Maybe this is like the... food service area<br>or something.

KIRBY  
>Oh honey, you're so sweet but totally wrong.<p>

SARAH  
>It's not bad. Not bad at all.<br>(jumps up and looks down, pointing)  
>Oh my God, it's Ryan Reynolds!<p>

KIRBY  
>Hush it down, lady! I gotta work in this<br>town again, don't go embarassing me.

SARAH  
>Sorry. I'll introvert my excitement next time.<br>(jumps back up)  
>Pee Wee Herman, what's he doing here? !<p>

Kirby pulls her cousin back down and holds her there.

KIRBY  
>Down girl.<p>

SARAH  
>Do you think I could get their number?<p>

KIRBY  
>I really hope you're talking about Ryan Reynolds.<p>

SIDNEY  
>You guys want anything? I'm buying.<p>

KIRBY  
>No thanks, Sid.<p>

ROY  
>Oh yeah, I'll have a large popcorn, some<br>Red Vines, a medium Coke and maybe nachos.

KIRBY  
>(slaps Roy playfully)<br>He's - he's joking.

Sidney smiles and gets up, making her way to the concession stand.

SARAH  
>Oh, do you need help?<p>

SIDNEY  
>Sure.<p>

Sarah gets up and follows a long.

CUT TO:  
>INT. JUDY'S SUV - DAY<br>Judy SWERVES IN AND OUT OF LANES, going quicker and quicker towards Windsor. Gale has the phone to her ear, unable to get a hold of anybody.

GALE  
>Where the hell is everyone? !<p>

JUDY  
>Have you tried Dewey?<p>

GALE  
>Well I was avoiding it but I guess I have to now.<p>

Gale dials the number and waits.

CUT TO:  
>EXT. THEME PARK ENTRANCE - DAY<br>Dewey and Morrison stand around in all the madness, groups of people still heading towards the exit of the park. An employee approaches them and tries to usher them out.

ENTRANCE EMPLOYEE  
>I'm sorry but you're gonna have to keep moving<br>if you don't work here.

DEWEY  
>We're waiting for Benjamin Stills, he told us<br>to stay.

ENRANCE EMPLOYEE  
>Mr. Stills left more than an hour ago.<p>

Dewey DARTS for the exit, Morrison following behind. Dewey's phone rings. He answers in the middle of running.

DEWEY  
>Gale!<p>

GALE  
>Dewey, I know who one of the killers is!<p>

DEWEY  
>What? How?<p>

GALE  
>It's RJ! Niley's boyfriend!<p>

DEWEY  
>And what makes you think that?<p>

GALE  
>I found a bloody Ghostface costume in his<br>locker at Sunrise Studios Theme Park.

DEWEY  
>You were here? ! Wait, RJ doesn't work at<br>Sunrise!

GALE  
>We have his name on the locker manifest. We've<br>been trying to get a hold of Sidney or Niley  
>or anybody for the last hour and nobody is picking<br>up!

INT. PARKING STRUCTURE - CONTINUOUS  
>Dewey and Morrison continue on towards their Jeep. Morrison now ahead of Dewey.<p>

DEWEY  
>Dammit Gale, you're gonna have to explain<br>yourself later! I'll call her and if she  
>doesn't answer then I'll call Panama but<br>first, I think we have another suspect.

GALE  
>Who?<p>

DEWEY  
>Gale, I can't talk right now!<p>

A CAR HITS DEWEY and his back SMASHES against the windsheild. Morrison runs back and helps him off the hood of the car. Dewey tries to be a trooper and keeps running, neglecting the driver with now damage to his car.

DEWEY  
>I'm fine! I'm fine! I'll feel it later!<p>

GALE  
>Did you just get hit by a car? !<p>

DEWEY  
>Gale, I'll talk to you later!<p>

Dewey hangs up and they reach Dewey's jeep, quickly entering. Morrison takes the driver side due to Dewey's injuries. They pull out and ZOOM OFF THE LOT.


	17. Scarecrow Drops In On the Premiere

CUT TO:  
>INT. PANDORA THEATER - DAY<br>Sidney and Sarah return from the snack bar, carrying the food in hand. They laugh over a mild joke Sarah was telling and return to their seats. Roy's eyes open wide in joy - - they got him nachos.

ROY  
>You like me! You really like me!<p>

SIDNEY  
>I know you love your nachos.<p>

KIRBY  
>Ugh! He's already gaining pounds!<p>

ROY  
>(totally hurt)<br>Whaaaaaaa - ? !

A speaker comes to the podium in front of the screen.

PREMIERE SPEAKER  
>Ladies and gentleman, may I have your attention<br>please?

The crowd silences.

PREMIERE SPEAKER  
>"Walking With Gorillas" will start in just one<br>moment but I just wanted to let you know, we  
>will be previewing the trailers and right after we are<br>going to pause for a moment and Ackerman Steel  
>and Cassandra Poe will be making an announcement!<p>

The crowd claps.

PREMIERE SPEAKER  
>The announcement they will make is regarding<br>the release date of one of the new trailers  
>attached to this film tonight written by this<br>film's own writer, Kirby Reed!

The audience applauds. Kirby's never felt so proud.

PREMIERE SPEAKER  
>So right after that trailer at the end of<br>the reel, the announcement will be made and  
>the movie will start. Thank you.<p>

The crowd applauds once more. The lights dim.

KIRBY  
>Oh, trailers before my movie! Trailers before<br>MY movie!  
>(claps to herself)<br>This is so exciting!

ROY  
>What's more exciting, the trailers or our<br>wedding tomorrow?

KIRBY  
>(says with a big smile)<br>I love you, honey but the trailers before  
>my movie are on so you need to shut the fuck<br>up, right about now. And I say that with love.

Roy frowns.

SIDNEY  
>Oh crap, I forgot the sodas.<p>

SARAH  
>Oh, that's okay, I'll go get it.<p>

SIDNEY  
>No, no, I'll do it. Watch your cousin's movie.<p>

KIRBY  
>(frowns)<br>But the trailers before my movieeeeee!

SIDNEY  
>(chuckles)<br>I'll be right back.

Their heads all turn and watch the trailer before them.

INT. CONCESSION STAND - CONTINUOUS  
>Sidney walks over to the stand and smiles at the worker. He smiles politely back.<p>

SIDNEY  
>Four medium Cokes, please.<p>

He nods and gets to it. Sidney looks off to the side at the posters of films coming out. Her head scans to the cubbies full of phones. The one with hers in it is blinking, signifying a call has come in. She takes a step in that direction.

CONCESSION GUY  
>Miss? Your drinks?<p>

SIDNEY  
>Oh, right. Thanks.<p>

CONCESSION GUY  
>Cup holder? You don't have as many arms as<br>an octopus to hold all these, I assume?

SIDNEY  
>You would have assumed right, good sir.<p>

He places the cups in the holder. She takes one more look at the cubby. "Nah, probably nothing," and grabs the holder, making her way back to the auditorium door.

INT. PANDORA THEATER - CONTINUOUS  
>The trailers have finished and the crowd is clapping. Kirby sits excited in her seat, biting her finger. She clutches Roy's hand. He looks over at her... "this is the girl I'm going to marry." And he couldn't be anymore happy. The speaker returns to the podium and calms down the audience.<p>

PREMIERE SPEAKER  
>So without further ado, the special announcement<br>regarding Ackerman Steel's next film!

The crowd claps. Out from the side of the auditorium comes in a handfull of press, designated to cover the announcement. They quickly situate theirselves at an angle. The Premeiere Reporter turns around to her camera man and fixes her hair.

PREMIERE REPORTER  
>You got a good shot?<p>

The camerman comes out from behind the lens, it's Joel.

JOEL  
>Yeah, it looks good! Feels great to be<br>back out on the field and on the front  
>lines! Who did ya say made this movie<br>again?

PREMIERE REPORTER  
>Just film, Joel!<p>

JOEL  
>Damn than, alright.<p>

Ackerman runs up to the podium, looking as douche baggy as ever. Kirby watches from the balcony, leaning forward in excitement. He waves to the crowd.

ACKERMAN  
>Thank you, ladies and gentleman for welcoming<br>me here tonight. I know I had nothing to do  
>with this movie but I thought the announcement<br>would be appropriate as ever, considering the  
>writer for this film is also the writer for<br>the film I am about to announce; the lovely  
>Ms. Kirby Reed!<p>

The crowd applauds. Joel stops for a second...

JOEL  
>Wait a second...<p>

ACKERMAN  
>Stand up girl, you've done an amazing job!<p>

Kirby blushes and gets to her feet, standing at the edge of the balcony. Sidney now makes her way down the aisle and looks down her row, trying not to get into her spotlight. She wishes she could clap too but her hands are full.

ACKERMAN  
>Now I just need my leading lady. Cassandra,<br>where you at?

The crowd is silent and they look around. Ackerman looks around.

ACKERMAN  
>C'mon girl, get up here.<p>

They don't clap just yet.

JOEL  
>Why'd you make me come here? ! You know<br>my rules!

PREMIERE REPORTER  
>You were all I had now shut the fuck up and<br>FILM, dammit!

Ackerman continues looking around. She's nowhere in sight.

ACKERMAN  
>(nervous smile)<br>Is Cassandra gonna drop in or what?

A BLOODY BODY FALLS IN FRONT OF HIM, HUNG WITHIN WIRES. The entire crowd GASPS. He looks on - - it's Cassandra, completely cut up from head to toe with shards of glass and metal still sticking out of her. SCARECROW RIPS FROM THE SCREEN FROM BEHIND AND GRABS ACKERMAN BY THE THROAT! Joel IMMEDIATELY drops the camera and SPRINTS out.

JOEL  
>Fuck this shit!<p>

SCARECROW  
>Nobody move or he gets it!<p>

Sidney watches from above and DROPS the sodas. Kirby stands up and looks down, completely horrified. Roy holds her, trying to make her feel comforted. Sarah grabs on to her cousin's hand - - she's never experienced something this frightening in her life. The crowd is at a complete stand still.

ACKERMAN  
>Just... relax. Whatever it is, we can talk<br>it out, okay?

SCARECROW  
>SHUT UP.<p>

ACKERMAN  
>What do - what do you want? !<p>

SCARECROW  
>I TOLD YOU TO BE QUIET!<p>

Scarecrow pans the entire room, looking up and down. He spots Sidney up on the balcony. HE SLOWLY POINTS HIS KNIFE IN HER DIRECTION.

SCARECROW  
>SIDNEY PRESCOTT.<p>

Sidney looks down the row at Kirby who's shaking her head at her. The entire theater looks up and back at the balcony.

SCARECROW  
>Do you want to be responsible for another life?<br>GET OVER HERE, NOW.

Sidney shivers and slowly makes her way to the stairs, leading the way down the balcony. The entire crowd starts to mutter.

SCARECROW  
>QUIET!<p>

From behind the screen, an OFFICER slowly makes his way forward behind Scarecrow and Ackerman, his gun drawn.

PREMIERE OFFICER  
>I have a clean shot, you want it?<p>

Sidney makes her way to the stage where the screen is and slowly walks towards the podium. She looks at Cassandra's mutilated body and freezes. SCARECROW STABS ACKERMAN IN THE SHOULDER.

SCARECROW  
>Get over here!<p>

ACKERMAN  
>Dammit, you bitch, do what he says!<p>

Sidney makes her way over, her hands above her head.

SCARECROW  
>(whispers in Ackerman's ear)<br>THIS IS FOR BATMAN.

HE STABS ACKERMAN IN THE EYE AND THROWS HIS DEAD BODY TO THE GROUND AND GRABS SIDNEY.

SCARECROW  
>(to the audience)<br>Don't even THINK about following me!

SCARECROW DRAGS HER BACK BEHIND THE SCREEN. The entire crowd watches in horror. Kirby grits her teeth.

INT. PANDORA BACKSTAGE - CONTINUOUS  
>Scarecrow pulls Sidney along and through bottom of the rafters behind the stage. Sidney tries her best to use her own feet but with the force, he's nearly dragging her. THE COP GOTS THE DROP ON SCARECROW.<p>

PREMIERE OFFICER  
>FREEZE AND LET HER GO!<p>

Scarecrow slowly turns his head to the officer.

PREMIERE OFFICER  
>Let her go and drop the weapon, hands behind<br>your head!

Scarecrow looks down at his name tag...

SCARECROW  
>Officer Diaz, is she REALLY worth your family's life?<p>

He shakes.

SCARECROW  
>I could easily get to them... do you know<br>how many people I know in the force that  
>could help me find where you live? Your<br>wife... your daughter... go ahead and SHOOT  
>me... but another one of me will be waiting<br>for them... just say the word and I'll make  
>your underpaying salary WORTH IT.<p>

Sidney gulps, the knife digging into her neck as she does. The officer looks at Sidney, sadness in his eyes. He gulps, breathing hard and shivering... he lowers the gun and backs away into the darkness. SCARECROW PULLS SIDNEY along and THROWS HER into the back door, opening it.

EXT. PANDORA BACK ALLERY - CONTINUOUS  
>Scarecrow looks around, the street is empty aside from a few parked cars on aligning the back. HE GRABS SIDNEY ONCE MORE.<p>

SCARECROW  
>(angrily to himself)<br>WHERE ARE THEY?

SIDNEY  
>Why are you doing this? Just kill me and<br>get it over with!

SCARECROW  
>You're not for me...<p>

SIDNEY  
>What does that mean?<p>

SCARECROW  
>You'll see...<p>

His head keeps spinning around... whoever he's waiting for isn't coming.

SIDNEY  
>Seems like you've been forgotten.<p>

SCARECROW  
>SHUT UP!<p>

SIDNEY  
>(beat)<br>Oh, look, there they are.

Scarecrow turns his head, SIDNEY PULLS SCARECROW'S ARM AND FLIPS HIM OVER HER BACK AND HIS BODY SMASHES AGAINST THE CAR. Scarecrow gets up and she SIDE-KICKS HIM IN THE FACE. Scarecrow falls back and drops the knife. SIDNEY PICKS IT UP.

SIDNEY  
>YOU STAY RIGHT THERE OR I'LL DO IT.<p>

SCARECROW  
>You wouldn't do such a thing, Sidney. I know<br>about how you couldn't do Martha in, what makes  
>you THINK you'll stab me? It'll be another<br>number on your body count list that you've  
>been racking up over the years!<br>(beat)  
>GIVE IT TO ME!<p>

SIDNEY  
>You're gonna have to catch me, fucker!<p>

Sidney SWINGS AROUND and BOLTS back into the backstage area of the theater. SCARECROW FOLLOWS CHASE.

INT. PANDORA BACKSTAGE - CONTINUOUS  
>Sidney jumps up a ladder and makes her way up one of the MANY levels of rafters. Scarecrow follows, chasing after her. Sidney continues, going up a stair case going higher up as she can. Sidney runs across a beam of rafters to the side - - SCARECROW LEAPS FROM ONE SIDE TO ANOTHER AND CATCHES HER IN HIS ARMS. Sidney ELBOWS him in the face and KICKS HIM BACK. He GRABS HER BY THE THROAT AND CHOKES HER and they FALL DOWN.<p>

She KICKS HIM in the groin and SENDS HIM FLYING OVER HER onto the hard WOODEN RAFTER they're on - - it CRACKS. Sidney stands up to run a away - - ONE OF THE RAFTER'S ROPE BEGINS TO SNAP. She falls to her knees from the weight adjusting so quickly. THE ENTIRE RAFTER then BREAKS AWAY SCARECROW'S SIDE.

THE ENTIRE RAFTER SWINGS DOWNWARD, SIDNEY HANGS ON TO THE TOP and IT CRASHES INTO another row of rafters. Scarecrow CRACKS through a few rows of poles and lands on another rafter. Sidney tries to climb - - ONE OF THE ROPES IS SNAPPING.

SIDNEY  
>C'mon, no!<p>

IT SNAPS! SHE'S NOW DANGLING ON THE WOODEN PLANK BEING HELD UP BY ONE TINY ROPE. IT BEGINS TO STRIP. HER BODY & THE PLANK STARTS TO TWIRL - - SHE LOOKS DOWN - - she's at least 5 stories high. She wouldn't make it. She looks over to the rafters on the side of her then tries to move her body back and forth, SWINGING THE WOODEN PLANK so she can jump to the other side of the rafters. THE MORE SHE SWINGS, the more the rope STRIPS.

Sidney looks up - - SCARECROW IS ON THE LEVEL ABOVE HER. HE LOOKS AT THE ROPE and tilts his head... he looks down at a broken wooden blank beside him and picks it up.

SIDNEY  
>SHIT!<p>

HE SWINGS THE PLANK AT THE ROPE. IT SNAPS EVEN MORE. SIDNEY MAKES ONE LAST SWING TO TRY AND REACH THE OTHER SIDE. He swings AGAIN, RUINING THE FLOW OF HER BACK AND FORTH MOTION. HE SWINGS ONCE MORE, IT BREAKS!

She JUMPS - - and CATCHES ONTO THE METAL BAR ON THE OTHER SIDE. She watches the falling rafter CRASH TO THE GROUND. Scarecrow looks over at Sidney and she smiles. HE SWINGS AROUND AND JUMPS DOWN, TRYING TO GET TO THE LEVEL OF RAFTERS she's on.

She pulls herself up and begins crawling across. She stops and looks up at the ropes holding the row she's on up... she steps backward and realizes she's on another plank held up by another set of ropes. She takes the knife and begins CUTTING AT THE ROPES IN FRONT OF HER.

SCARECROW MAKES IT DOWN TO HER LEVEL. Sidney standing at the very far end. Scarecrow slowly moves forward; Sidney already backed into a wall.

SCARECROW  
>Sidney... you really... are starting...<br>to get on my fucking nerves.

SIDNEY  
>Good.<p>

SCARECROW  
>One would think after ALL THIS MANIA and all<br>the times you've been targeted, it'd BE YOU  
>behind the mask. Of ALL people, you could<br>be the one DOING the killing. Eliminating  
>the people from your life close to you so<br>YOU won't ever get hurt again.

SIDNEY  
>Hm... doesn't like a bad idea.<p>

SCARECROW  
>Join us, Sidney... think of everything we<br>could accomplish TOGETHER. You would no  
>longer have to be afraid... or pretend to<br>be OUT OF DARKNESS... you could be ONE with  
>the darkness... be ONE with the fear... you<br>could have ALL THE CONTROL.

He stops walking. Sidney looks down. He's right in front of the rafter section's ropes she cut...

SIDNEY  
>Maybe...<p>

SCARECROW  
>Come with me, Sidney... make it easier on you.<p>

SIDNEY  
>I think I need to be persuaded a bit more.<p>

Scarecrow moves his foot to take a step forward... he notices the ropes are cut. He puts his foot back down.

SCARECROW  
>Sidney... really? How stupid do you think I am?<p>

SIDNEY  
>Stupid enough!<p>

SIDNEY JUMPS ON THE RAFTER IN FRONT OF HER and it DROPS A LEVEL DOWN. Scarecrow JUMPS AFTER HER. The rafter CRASHES on the level below and she ROLLS OUT of the way onto another set of plank. The ropes snap on the new level from the weight of an extra plank already and then Scarecrow LANDS - - THE ROPES BREAK COMPLETELY.

HE FALLS THROUGH THE WOOD AND LANDS ON THE NEXT LEVEL - - HE BREAKS THROUGH THAT TOO - - and onto the NEXT - - HE FALLS FURTHER AND FURTHER DOWN - - LEVEL AFTER LEVEL - - UNTIL HITTING THE CONCRETE BOTTOM. The wooden planks, ropes and metal poles SMASH on top of him. He's knocked out cold.

Sidney looks down below. She sighs for a moment of relief but then jumps up, running back down to the floor. She slowly approaches the heap on top of him, Scarecrow's arm sticking out - - she kicks it - - nothing.

After a slight moment of hesitation, she begins throwing the planks off until he's uncovered. The crowd inside the theater is still rumbling with displeasement of what has happened before them. She takes off a plank - - Scarecrow's mask peers on back at her but the body still seems lifeless. Her hand reaches out to unmask it - - A PLANK PLUNGES INTO SCARECROW'S CHEST.

Sidney jumps back, startled - - the officer looks down at Scarecrow with hatred in his eyes as the blood sprays up at him.

SIDNEY  
>NO! NO!<p>

She PUSHES the officer off and looks down - - Scarecrow's dead. She tries to not touch the plank and the officer stands back, much satisfaction in his eyes.

PREMIERE OFFICER  
>Fuckin' prick. Threaten my family? !<p>

SIDNEY  
>You idiot, now he's dead!<p>

PREMIERE OFFICER  
>Yeah, THAT'S THE IDEA.<p>

SIDNEY  
>Now we'll know nothing!<p>

The officer says nothing. Sidney kneels back down into the blood and reaches her hand out UNMASKING Scarecrow - - it's Morton. Kirby and Roy come running up from behind the officer and look down at his dead body.

ROY  
>That piece of shit...<p>

KIRBY  
>Oh my God... where's Niley? ! Is she still<br>at rehearsal?

Kirby runs off back into the auditorium as Roy follows behind her. Sidney still sits there, looking at Morton's now lifeless body. A tear almost comes to her eye - - another teenage life, gone for probably no real good reason.

SIDNEY  
>You're gonna have to explain to my husband<br>why this kid had a plank driven into his  
>chest.<p>

PREMIERE OFFICER  
>Your husband's in the hospital. We just<br>got word. I did you a favor... face it.

Sidney PUSHES the officer out of the way and makes way back through the screen. The officer continues to look down at Morton, his eyes rolled over and bloody. He spits on him as an ambulance crew make their way through.


	18. I AM ::::: ::::::

CUT TO:  
>INT. WINDSOR THEATRE - NIGHT<br>Niley walks over to her bag and picks up her phone. It's ringing off the hook. She answers: it's Kirby.

NILEY  
>Go for Niley.<p>

KIRBY (O.S.)  
>Niley, where are you? !<p>

NILEY  
>I'm at practice.<br>(beat; innocently)  
>Hi Kirby. Is your movie over already?<p>

KIRBY (O.S.)  
>Niley, where's RJ?<p>

NILEY  
>I don't know, I haven't talk to him all day.<p>

KIRBY (O.S.)  
>Listen to me, Niley: we have reason to believe<br>he is one of the killers.

NILEY  
>RJ would never do that.<p>

KIRBY (O.S.)  
>Morton was one of them. We just caught him.<br>He's dead, Niley...

NILEY  
>(almost hurt)<br>What?

KIRBY (O.S.)  
>If Morton was in on it, it's plausible RJ was,<br>too! Gale said she found a bloody Ghostface  
>costume in his locker at Sunrise Studios.<p>

NILEY  
>Kirby, that makes no sense. RJ doesn't work<br>at Sunrise.

KIRBY (O.S.)  
>His name is on the LOCKER MANIFEST. He's also<br>Randy Meeks's son. There's so many factors here!  
>Just listen to me and get some security together<br>and meet us at the hospital. Detective Panama  
>should be on his way to escort you.. Kincaid's<br>been stabbed.

NILEY  
>Well what the fuck, where was I when all this<br>was happening?

KIRBY (O.S.)  
>Just listen to me, Niley! Who is with you right<br>now?

NILEY  
>Mr. Gold and some of the other cast and crew but<br>that's it.

KIRBY (O.S.)  
>Don't trust any of them. Just get to the<br>hospital as fast as you can. I'll be waiting  
>for you there?<p>

NILEY  
>... does this mean that I can't participate<br>in the sorority house voting?

KIRBY (O.S.)  
>... I'm not even going to answer that.<p>

NILEY  
>Well I have to at least let them know. It<br>starts in like 15 minutes, they need to find  
>a replacement.<p>

KIRBY (O.S.)  
>CALL THEM, DUH.<p>

NILEY  
>Kirby, I do not appreciate that tone!<p>

KIRBY (O.S.)  
>I'm sorry, Niley...<p>

NILEY  
>You be nice to Niley!<p>

KIRBY (O.S.)  
>Sorry...<br>(as calm as she can)  
>But hurry the fuck up.<p>

She hangs up. Niley puts her phone back in her bag and looks back to Gus.

NILEY  
>I have to go, I'll see you the day after<br>tomorrow.

GUS  
>Sure thing, honey. Is everything okay?<p>

NILEY  
>Ehhhh... do me a favor and call campus security?<p>

GUS  
>Sure, I'll have them right over.<p>

Niley picks up her bag and makes her way to the door, looking out the window and waits for Panama.

CUT TO:  
>INT. KINCAID'S HOSPITAL ROOM - NIGHT<br>Sidney enters the room in a hurry and rushes to Kincaid's bed side. She hugs him and kisses his forehead.

SIDNEY  
>Oh my God, are you okay?<p>

MARK  
>I'm fine. I keep telling these people I'm<br>fine but they won't let me leave. I need  
>to get out of here.<p>

SIDNEY  
>Just rest, Mark.<p>

MARK  
>I can't. I can't reach my father, I need<br>to know he's safe for myself.

SIDNEY  
>Do you want me to go get him?<p>

MARK  
>No, I sent some guys over there already.<p>

SIDNEY  
>Well he's not going to go with them if he<br>doesn't know them.

MARK  
>Exactly.<br>(beat)  
>Okay, you convince these people to let me<br>out of here and I will go with you to get him.

SIDNEY  
>They're not gonna do that. Dewey will be<br>here in just a minute and I will go with him.

MARK  
>That's not gonna help anything.<br>(beat)  
>What happened to you? You're bleeding.<p>

He grabs her arm and looks at a cut.

SIDNEY  
>One of them attacked me.<p>

MARK  
>What? When?<p>

SIDNEY  
>At the premiere.<p>

MARK  
>AT the premiere? One of them attacked you<br>AT THE PREMIERE? With all that security?

SIDNEY  
>Yes. They killed Ackerman and Cassandra<br>Poe was found dead.

MARK  
>Jesus Christ, this is exactly what I was<br>afraid of. I leave you alone ONCE and this  
>happens! Why didn't you tell me sooner?<p>

SIDNEY  
>Because I was worried about you.<p>

MARK  
>Like I wouldn't be about you?<p>

SIDNEY  
>Frankly, you're the one who got stabbed<br>and has the dead partner. I figured you'd  
>need the most consoling.<p>

MARK  
>Whatever. You should've told me when I<br>got a hold of you, you should've told me than!

SIDNEY  
>DO NOT START.<p>

MARK  
>Sidney, I - -<p>

SIDNEY  
>NO! Listen to me! I will not put up with<br>that SHIT. You understand? This happened  
>before I ever MET you and I've DEALT with it.<p>

Mark controls his breathing.

MARK  
>I'm sorry. But you know how much I care<br>about you.

SIDNEY  
>Now I'll be right back. I'm gonna get<br>you something.

Sidney turns to leave, Mark grabs her arm and pulls her back down.

MARK  
>I love you.<p>

She kisses him.

SIDNEY  
>I love you, too.<p>

She exits.

CUT TO:  
>INT. KIRBY'S APARTMENT - NIGHT<br>Kirby sits on her couch, holding her fingers to her temples trying to figure out where her life went so wrong. Roy enters the room with a suitcase and throws it on the table in front of her.

KIRBY  
>What are you doing?<p>

ROY  
>Kirby, we're leaving.<p>

KIRBY  
>What?<p>

He kneels down beside her.

ROY  
>Think of everything that's happened. Think<br>of why. And then think of why we're still  
>here. Think of why we're not gone.<p>

KIRBY  
>Because they need us.<p>

ROY  
>No, they don't, Kirby. You need them. But<br>you need to let go now.

KIRBY  
>Roy, I don't see - -<p>

ROY  
>If we don't leave, RIGHT NOW, we are missing<br>on what is most important in our lives.  
>(beat)<br>Us. Together. Married.

KIRBY  
>What about everyone else?<p>

ROY  
>We can't trust them, Kirby. We just can't.<br>We trust even one of them, including Sidney  
>or even Niley... then we're already dead.<br>And they'll be safe because they have  
>each other. But you and I... all we need<br>is us.

KIRBY  
>You wanna just leave? And go where?<p>

ROY  
>I want to leave, yes. And it doesn't matter<br>where we go as long as we have each other.  
>I don't even want to tell them that we ARE<br>going. We just go... no one will find us.  
>All of this, to us, will be over. They may<br>be in danger and it may hurt to know that  
>and it may hurt them to know we kinda<br>abandoned them... but at the end of the day,  
>they'll understand. They'll understand<br>because we will be safe.

KIRBY  
>(tears fall from her eyes)<br>I can't do it.

ROY  
>Yes you can... you can and tomorrow, like<br>planned, we'll get married. It might not  
>be the ceremony we wanted... or, well, I wanted<br>since I planned everything.

They both chuckle, Kirby trying her best to stop the water works.

ROY  
>But we get married... and we leave everything<br>behind. We start a new life... new people...  
>and once we get there, once this all blows<br>over... then we tell them where we are. It's  
>the only way to survive this. It's the only<br>way.

KIRBY  
>(nods)<br>You're right. You're absolutely right.  
>What about my cousin?<p>

ROY  
>We drop her off at the airport on the way<br>to where ever we go. Hell, if you wanna take  
>a flight somewhere then that's fine too. I<br>don't care, just as long as we leave and as  
>long as I have you, I don't care what happens.<br>I love them just as much as you do... but not  
>as much as I love and need you.<p>

KIRBY  
>(nods, crying harder)<br>Okay... okay.

ROY  
>Really?<p>

KIRBY  
>Yes... you're right. Can we please take<br>Niley along?

ROY  
>(tears up)<br>No, baby, I'm sorry.

KIRBY  
>(chuckles with tears)<br>She's gonna be so mad.

ROY  
>I know but she'll be safe. She's going to<br>the hospital, she'll be safe with Sidney,  
>Dewey, Gale and Mark... they'll find a place<br>for her... and like I said, when this all  
>blows over...<p>

KIRBY  
>(trying her best to hold herself together)<br>We're coming right back to get her, right?

ROY  
>Yes, I promise.<p>

KIRBY  
>But what if it's too late? What if she's gone?<p>

ROY  
>She won't be. She's smart. She knows what<br>to do. You know that. You know that. And  
>with Sidney, you can't go wrong. Right?<p>

KIRBY  
>Yeah.<p>

ROY  
>With Dewey, well, you know. He might shoot<br>himself in the foot or something but - -

KIRBY  
>(laughs)<br>Yeah.

ROY  
>But you and me. That's what matters, baby.<br>That's what matters the most.

KIRBY  
>Okay... okay.<p>

She hugs him tight and kisses him on the lips. The music swells up.

ROY  
>C'mon, let's go!<p>

CUT TO:  
>EXT. WINDSOR THEATRE - NIGHT<br>Panama exits his SUV and starts to run over to the theatre entrance. Mallory Fox runs up to him from the side, blood on her hands and clearly shaken. Panama stops, his eyes widened.

MALLORY  
>Are you a cop? !<p>

PANAMA  
>I'm a detective. Why do you have blood on you?<p>

MALLORY  
>In the radio hall, I found two dead bodies.<br>Lennon and Terri, they're both radio DJs  
>for the station I work for. I don't know<br>how long they've been there but it's really bad!

PANAMA  
>Show me.<p>

Mallory runs off, Panama following her.

INT. WINDSOR THEATRE - CONTINUOUS  
>Niley watches from the window. Two security guards stand next to her.<p>

NILEY  
>Where the hell is he going? ! UGH.<p>

Niley walks back over to Gus, finishing up his work.

NILEY  
>Gus, Panama just left me here. I'm gonna<br>go ahead and go.

GUS  
>Do you need me to go with you?<p>

NILEY  
>No, I have two guards with me. Thanks.<p>

GUS  
>Niley, I want to make sure my lead is safe.<br>I'm coming with you.

NILEY  
>Suit yourself.<p>

They all exit the building.

CUT TO:  
>INT. HOSPITAL LOBBY - NIGHT<br>Gale, Judy and Eileen wait around in the lobby of the hospital. Judy still with the bag with the costume in it. Her phone rings; popping up on her called ID is a picture of a small little boy, blonde, still an infant and next to his picture, it says Chewy.

JUDY  
>Hey Chewy, baby.<p>

CHEWY  
>Momma. When momma coming home?<p>

JUDY  
>Real soon, baby, I just have to deal with<br>something really quick.

Gale watches the conversation Judy is having with her son in admiring and almost envious eyes.

CHEWY  
>I mith you.<p>

JUDY  
>(smiles)<br>I mith you too but mommy is busy with her  
>friends.<p>

CHEWY  
>Mommy no have fwiendth!<p>

JUDY  
>(chuckles)<br>Yes, I do!

CHEWY  
>Noooo you don't.<p>

JUDY  
>Yes, I do! Why do you think that?<p>

CHEWY  
>Becaaaaaauthe nabody evor vithits you and<br>thumbtimeth you - you - you cry and thay  
>you withh thumbeone come to be witchu<br>and be yurrr fwend.

JUDY  
>(beat)<br>Well mommy made new friends today.

Gale's smile gets bigger.

JUDY  
>I have to go now though but go ahead and<br>go to sleep, okay? Tell daddy I'll be  
>there in about an hour to pick you up and<br>to take you home.

CHEWY  
>Okayyyyyy.<p>

JUDY  
>I love you, Chewy.<p>

CHEWY  
>Love ya, momma.<p>

They hang up. Gale nearly has tears in her eyes.

GALE  
>Was that your son?<p>

JUDY  
>(shows them his picture)<br>Yeah... the little critter. His name is  
>Charles but I like to call him Chewy.<p>

EILEEN  
>He's really cute.<p>

JUDY  
>Thanks.<p>

GALE  
>How old is he?<p>

JUDY  
>About three and a half. When he got to be<br>about a year old, the job got so hectic so I  
>just quit. It wasn't safe for me or for him.<p>

GALE  
>(beat)<br>Oh. He's adorable.

JUDY  
>I just wanna get home to him as fast as I can.<p>

EILEEN  
>Well I can take the bag, Judy. You can go<br>on home.

JUDY  
>(back in officer mode)<br>No thank you, ma'am. Once you start a  
>mission, you do not stop until it is complete.<p>

GALE  
>(beat)<br>I always wanted a son.

JUDY  
>Then why haven't you?<p>

GALE  
>I don't know... it's just one of those<br>things you always say you'll get around to  
>and next thing you know... you're old.<br>(smiles)  
>Like when the hell did that happen?<p>

EILEEN  
>Hey, if we're old then we sure kicked<br>a lot of ass today for some old ladies.

JUDY  
>That's right. Couldn't have been done<br>without you, Gale.

GALE  
>Thanks.<p>

Dewey and Morrison come through the sliding doors. They immediately approach the female trio as they all stand and meet in the middle. Judy throws off her bag and begins to take the mask out.

DEWEY  
>Not here.<p>

They walk over to the hallway off to the side. Judy pulls it out. Dewey looks at it closely.

EILEEN  
>(handing him the paper)<br>And here's the locker manifest.

DEWEY  
>You weren't supposed to do this.<p>

GALE  
>But we did, Dewey. And like I said, this<br>is what I'm good at! I told you I could  
>do this!<p>

DEWEY  
>(to everyone)<br>One minute with my wife alone, please?

They all fan out, Gale still ecstatic.

GALE  
>You should've seen us today, Dewey, we<br>were all over and we were kickin' - -

DEWEY  
>(putting his foot down)<br>I told you to not get involved!

GALE  
>I know but look! Evidence! Cold hard<br>evidence leading to RJ Kolchec.

DEWEY  
>Well they haven't been able to find<br>RJ in Woodsboro yet so I'm gonna have  
>to go down there and find him.<p>

GALE  
>You see? And now I hear Morton was apart of this, too!<br>C'mon, this has Billy and Stu written all  
>over it! Admit you wouldn't have been<br>able to do this without me.

DEWEY  
>Sure, fine, does that make you happy, Gale?<br>You were right, you're an awesome journalist  
>that goes leaps and bounds beyond everyone<br>else, even if you have to break a few laws  
>in the way to do it. But you know what<br>you are bad at? Listening to your husband.

Gale seems a bit shocked.

GALE  
>EXCUSE ME?<p>

DEWEY  
>I gave you a direct order - - !<p>

GALE  
>An order? I am not Private Morrison over<br>there, I am your wife!

DEWEY  
>And a BAD ONE AT THAT!<p>

Gale's eyes open wide in complete disbelief. Dewey immediately regrets it.

DEWEY  
>(touches her arm)<br>I'm sorry, Gale, I didn't mean - -

GALE  
>(pulls away)<br>NO. You stay away from me.

Gale rushes off down the hall, leaving everyone behind. Dewey sighs and tries to run after her.

DEWEY  
>Gale, c'mon!<p>

GALE  
>I'm a bad wife? I'M A BAD WIFE? !<p>

DEWEY  
>I didn't mean it!<p>

GALE  
>Fuck you, Dewey! If anything, I've been<br>helping you advance in your career with  
>my little revelations. Half of YOUR<br>success is due to ME. And all of a sudden,  
>I'M A BAD WIFE?<br>(pushes him back)  
>One step closer, Dewey. ONE TINY STEP<br>and I end it right here and right now. I  
>am not even JOKING.<p>

Dewey stops. He knows to take Gale seriously. He looks back at Morrison, Judy and Eileen and makes his way back over.

JUDY  
>You okay, Dewey?<p>

DEWEY  
>Yeah, just a little spat.<p>

EILEEN  
>A little? Shit, I'd hate to see a big one.<p>

Eileen walks off and runs down the hall, following Gale who is now getting on an elevator. Dewey's phone rings.

DEWEY  
>Hello?<p>

NILEY (O.S.)  
>Dewey, it's Niley.<p>

DEWEY  
>Hi Niley, how far away are you now?<p>

NILEY (O.S.)  
>I'm still on campus. That douche Panama<br>left me here.

DEWEY  
>What? ! Well stay somewhere safe and I'll<br>come pick you up and bring you here.

NILEY (O.S.)  
>I'll be at the house. I have Gus and<br>two guards with me. I'm still walking my  
>way over there.<p>

DEWEY  
>Okay, I'll be there in thirty.<br>(hangs up)  
>Okay, I gotta go. I'll just take that<br>evidence.

JUDY  
>Actually, Dewey, I was wondering if I<br>could get a word with you?

DEWEY  
>Can you ride along?<p>

JUDY  
>Sure.<p>

DEWEY  
>Okay, let's go. Morrison, hold it down here.<br>I'll be back in about an hour.

MORRISON  
>No problem, sir!<p>

Morrison runs off and goes towards the elevator, Judy and Dewey exit the building and head for the parking lot.

CUT TO:  
>INT. UNDISCLOSED ROOM - NIGHT<br>The room is dark around the edges. A single light in the middle of the room hangs down. We TILT down - - we see ZOMBIE at the head of a table. We ZOOM OUT - - Bloodred on one side and Ghostface on the other.

ZOMBIE  
>Scarecrow failed to produce any results.<br>So we had to let him go.

GHOSTFACE  
>He was new. It was expected.<p>

ZOMBIE  
>But because we are only one man down doesn't<br>mean we don't stick with the plan. We all  
>have our seperate agendas but we must stick<br>to the bigger picture.

BLOODRED  
>With the failed attack, they will know we<br>are coming.

ZOMBIE  
>Which is why we have to act fast.<p>

GHOSTFACE  
>Do you want to storm the hospital?<p>

ZOMBIE  
>Too risky. We have to lure them out. One<br>by one.

BLOODRED  
>Niley is still on Windsor campus. We can<br>take her.

GHOSTFACE  
>But what about my plan?<p>

ZOMBIE  
>The plan is we stick soley to Sidney! Don't<br>you sway from it.

GHOSTFACE  
>I thought we were going to compromise on<br>targets. Surely you know, one planned target  
>will effect the other to make the other ones<br>incapable of getting to.

ZOMBIE  
>I LEAD you... you go by MY plans. And then<br>after, we figure out ANOTHER way.

BLOODRED  
>(to Ghostface)<br>We must stick to what Billy Loomis would've  
>wanted.<p>

GHOSTFACE  
>Billy Loomis isn't here! Why do we follow<br>the agenda of a man who's been dead for over  
>20 YEARS?<p>

BLOODRED  
>Because that's how we were formed. If you<br>want to keep our group strong, if you want  
>to keep on track to dominate, we MUST stick<br>to one plan at a time. And the most important  
>one is HER.<p>

GHOSTFACE  
>You think I don't know of the plan? You<br>think I want something different? All I'm  
>saying is we can tamper with someone who is<br>not here's plan who's been GONE for 20 years!

ZOMBIE  
>You don't know what you're talking about.<p>

GHOSTFACE  
>Am I missing something here? When will you<br>all realize that Billy Loomis is DEAD.

ZOMBIE  
>NO...<br>(slams his fist down)  
>I AM BILLY LOOMIS.<p>

THE MUSIC RISES. Angle on Bloodred. Back to Ghostface. Back on Zombie - - WE SLOWLY ZOOM IN ON HIS DECAYING MASK AND INTO THEIR EYES. WE GET A SLIGHT LOOK BEHIND THE MASK AT THE EYES BEHIND THEM - - SMASH TO BLACK.

61 reviews to get the next 2 chapters that lead into the THREE PART, GRAND FINALE due to be posted May 12th at 11:59PM just in time for FRIDAY THE 13TH!


	19. Suspicious People with Baseball Bats

CUT TO:  
>INT. DEWEY'S CAR - NIGHT<br>THE CAR SPEEDS DOWN THE HIGHWAY. Dewey races through the cars, dodging in and around them. Judy hangs on to the "oh shit handle." To get her mind off the crazy driving, she brings up the first thing that pops into her head...

JUDY  
>So... how are things with you and Gale?<p>

DEWEY  
>We're great.<p>

JUDY  
>Oh... frankly, I couldn't tell.<p>

DEWEY  
>That noticable, eh?<p>

JUDY  
>Well you know... she's getting older, Dewey.<p>

DEWEY  
>I know that.<p>

JUDY  
>But I mean... you have to understand her.<p>

DEWEY  
>Women are from Venus, Men are from Mars;<br>I get it.

JUDY  
>You can know and you can try to get what<br>she's going through but... you have to  
>fully empathize.<p>

DEWEY  
>Are you giving me relationship advice, Hicks?<p>

JUDY  
>Call me Judy... I'm not the law anymore.<br>You have G.I. Joe for that now.

DEWEY  
>Reminds me of old times... doesn't it?<br>Driving across cities to get somewhere  
>before something bad happens.<p>

JUDY  
>(chuckles)<br>Without the bad weather.

DEWEY  
>Yeah...<p>

JUDY  
>(beat)<br>We're never gonna talk about it, are we?

DEWEY  
>Talk about what?<p>

JUDY  
>You know what I mean. Does Gale know?<p>

DEWEY  
>Judy, I don't what you're talking about.<p>

JUDY  
>We kissed, Dewey!<p>

DEWEY  
>No, we did not! Our lips ALMOST touched.<p>

JUDY  
>They touched. There was a moment. We<br>moved in. Our eyes closed. Our lips  
>perked.<p>

DEWEY  
>How would you know my eyes were closed, huh?<p>

JUDY  
>Oh, come on!<p>

DEWEY  
>I'm serious!<p>

JUDY  
>I'm just saying! I don't feel that way about<br>you anymore, Dewey. But I think it's healthy  
>if we at least acknowledge that it happened, yeah?<p>

DEWEY  
>For what? What you're supposedly saying happened,<br>happened in the past.

JUDY  
>I don't know, a clear conscience? I admit, I<br>felt kinda bad being buddy-buddy with Gale  
>today with that somewhere in the back of my<br>mind. If I know you told her then I would  
>at least feel okay about it.<p>

DEWEY  
>Well I didn't tell her about a kiss that didn't happen!<p>

JUDY  
>(beat)<br>Whatever.

CUT TO:  
>EXT. SORORITY ROW - NIGHT<br>At the end of the cul de sac, a festive RALLY occurs with a stage, banners, loud music; the works. Niley, Gus and her security guards walk up to the Omega Beta Zeta house, bypassing the rally all together. Murphy is on stage, pumping up the crowd.

MURPHY  
>If you love Omega Beta Zeta, let me hear you scream!<p>

The crowd cheers. Murphy jumps back into the crowd, letting another candidate take over. From a distance, Nessa can see Niley & Co. going to the house.

MURPHY  
>Where you going?<p>

NESSA  
>I'll be right back.<p>

Murphy shrugs it off. Lois comes into the crowd; she's had better days.

MURPHY  
>Where've you been?<p>

LOIS  
>I had to go buy the victory supplies. Duh.<p>

Murphy observes Lois a bit closer. She has a bruise on her face that she's covering with her hair.

MURPHY  
>(moving her hair out of the way)<br>Did you run into a wall on the way there?

LOIS  
>(pushing away Murphy's hand)<br>What? No, don't be silly.

Lois BOOS the candidate on stage. Murphy just looks at her with observing eyes... she shrugs it off and gets back into the crowd mentality.

INT. OMEGA BETA ZETA HOUSE - CONTINUOUS  
>Niley runs up the stairs towards her room as Gus waits down below. The two security guards can be seen waiting outside by the window.<p>

NILEY  
>Really, you can go home if you want.<p>

GUS  
>No, I'm gonna stay right here until you're<br>picked up.

NILEY  
>Okaaaaay.<p>

Niley then hears a loud moaning coming from the room next door... she shrugs and enters her room.

NILEY  
>That Jane is at it again...<p>

Behind Gus, the door opens and in comes Nessa. She smiles at Gus.

NESSA  
>Hey Professor Gold.<p>

GUS  
>Nessa, good evening.<p>

Nessa runs up the stairs.

INT. NILEY'S ROOM - NIGHT  
>Niley has the phone to her ear and an innocent smile on her face. She waits patiently. She gets the voicemail.<p>

NILEY  
>Hi RJ, it's Niley - - your girlfriend. Uh,<br>I just wanted to say if you're trying to  
>kill me then I will be forced to - -<br>(demonized)  
>RIP YOUR BALLS OFF AND SHOVE THEM DOWN YOUR THROAT!<br>(back to her sweet self)  
>But if not, call me back when you get this! Toodloo!<p>

Nessa opens the door and looks in. Niley is packing her bags.

NESSA  
>Wh-what are you doing?<p>

NILEY  
>I'm gonna be leaving for a while, Nessa.<p>

NESSA  
>(closing the door)<br>Why?

Niley freezes up a bit and can feel some odd tension from the door closing.

NILEY  
>(turns around and puts on a fake smile)<br>Family's coming from Florida so I'm gonna  
>be home for the rest of the weekend.<p>

NESSA  
>Oh... can I come?<p>

NILEY  
>(nervous laughs)<br>You won't wanna do that. It'll be boring.

NESSA  
>So... I wanna spend time with you.<p>

NILEY  
>Ah... that's nice, Nessa but really, my<br>house gonna be full as it is so - -

NESSA  
>I don't care, I'll sleep in the car if I<br>have to.

Nessa grabs a miniature baseball bat off her dresser and starts to slowly approach Niley.

NILEY  
>What are you doing?<p>

NESSA  
>Nothing...<p>

The music begins to tense up...

NILEY  
>Nessa, I'm gonna have to politely ask you<br>to just stay right there...

NESSA  
>Noooo, Niley... you're gonna thank me for this.<p>

NILEY  
>I'm serious...<p>

Nessa starts to have an odd glare in her eye.

NESSA  
>I just wanna help you...<p>

NILEY  
>There are two guards right outside.<p>

Nessa slowly raises the bat.

NILEY  
>And... and, that would be a very painful<br>way to die, being bludgeoned to death!

NESSA  
>... Yeah, it would...<p>

THE SOUNDTRACK STINGS.

NILEY  
>Please don't do this, Nessa, I actually<br>like you!

NESSA  
>I like you, too, Niley... very much.<p>

SHE SLAMS THE BAT AGAINST THE TABLE ON THE SIDE OF NILEY. She winces and closes her eyes... she opens them. Nessa raises the bat... there's a dead, squished tarantula on it.

NESSA  
>Jesus Christ, did you see the size of<br>this thing? !

NILEY  
>(embarassed laugh)<br>Oh my God... that was so scary... scary  
>spider! AHHHH!<p>

NESSA  
>I know, I wanted to kill it before it jumped<br>on you or something.

NILEY  
>(sighs)<br>Thanks.

NESSA  
>(stares her right in the eyes)<br>You're welcome.

Nessa drops the bat and grabs Niley by the back of her head and pulls her in, KISSING HER. Niley's eyes open wide and she pushes her off.

NILEY  
>Holy muff diver, what was that? !<p>

NESSA  
>I'm sorry, I thought that - -<p>

NILEY  
>I have a boyfriend, Nessa!<p>

NESSA  
>Yeah but you know how things are these days!<p>

NILEY  
>You're a lesbian? !<p>

NESSA  
>DUH! Couldn't you tell? !<p>

Niley's eyes are still wide and shocked as she looks around the room. Nessa has posters above her bed of Jessica Alba, Eliza Dushku, Kelly Brook...

NILEY  
>NO!<p>

NESSA  
>(sighs)<br>I'm sorry, I'll just go.

Nessa turns to leave but Niley grabs her arm.

NILEY  
>No, no, I'm sorry. I'm being rude, I just - -<br>it was a shocker. That's all.

NESSA  
>I don't know what to say, I'm just... I<br>think I'm really falling for you.

NILEY  
>(blushes)<br>Awwwwww, that's so sweet... and weird, I'd  
>never thought I'd say that.<p>

NESSA  
>When I met you, I thought, hey, maybe this<br>is the girl. Ya know? You just have this...  
>sensual, "come get me!" vibe about you and I<br>just couldn't resist.

NILEY  
>Is that so?<p>

NESSA  
>Incredibly so. And once again, I'm embarassed<br>and I am leaving.

NILEY  
>Nessa, seriously, stay!<br>(beat)  
>Help me pack. Please? And I promise - - when<br>I get back, we'll talk more about this.

NESSA  
>You don't have to if you don't want to, I<br>would understand.

NILEY  
>No, I want to. Believe me.<p>

NESSA  
>... I'm sure this makes a whole lot of things<br>we did together seem really awkward now, right?

NILEY  
>... half naked pillow fights?<p>

NESSA  
>(shrugs and blushes)<br>Yeeeeah...

NILEY  
>... by the way, I sent that to my friend. Don't<br>be surprised if he asks you about it one day.

They both giggle.

NESSA  
>Well I'm gonna go make a sandwich and I'll be right back.<p>

NILEY  
>Oh, make me one too! PB &amp; J!<p>

NESSA  
>(beat; blank)<br>You got it.

Nessa exits the room.

CUT TO:  
>INT. HOSPITAL - NIGHT<br>Sidney sits down next to Mark at the bed and she feeds him pudding. He can't even enjoy it.

MARK  
>(getting up)<br>Okay, I can't take this anymore.

SIDNEY  
>No, please rest. I'll call them back right now.<p>

MARK  
>If it's not good news, I'm vaulting myself<br>out of this bed.

SIDNEY  
>Cool it.<p>

Sidney gets up and exits the room, starting to dial her phone. A nurse walks by and taps her on the shoulder. Sidney swings around. The nurse points to the sign directly right next to her head. "No cell phones - all calls must be made in the lobby or outside." Sidney nods and puts her phone in her pocket then walks towards the elevator.


	20. THE OMEGA BETA ZETA MASSACRE

CUT TO:  
>EXT. OMEGA BETA ZETA HOUSE - NIGHT<br>Murphy runs up the steps and approaches the two security guards. They try to bulk up, appearing like they have this under control.

MURPHY  
>At ease boys, I live here.<p>

SECURITY GUARD #1  
>We're still gonna have to check you.<p>

MURPHY  
>Ugh, you serious? I'm just trying to grab<br>some confetti for the victory parade we're  
>about to have.<p>

SECURITY GUARD #2  
>Rules are rules, miss.<p>

MURPHY  
>(throws her hands up)<br>Okay but if you even come an INCH towards  
>my bandersnatch, I'm pulling the sexual<br>harassment card.

Security Guard #1 bends down and starts frisking her. She's good. He lets her go.

MURPHY  
>I think I might've felt a pinky slip.<br>(taps the guards on the shoulder)  
>YOU WISH.<p>

Murphy enters the house and the two guards look at each other.

SECURITY GUARD #2  
>Did you really?<p>

SECURITY GUARD #1  
>No... I should've.<p>

They both laugh to each other.

INT. MURPHY'S ROOM - CONTINUOUS  
>Murphy enters the room and quickly tries to look around. She doesn't see what she's looking for. She takes out her phone and dials.<p>

EXT. SORORITY ROW - CONTINUOUS  
>Lois is in the middle of the festivities and her phone rings. She answers.<p>

LOIS  
>Couldn't find it?<p>

Lois moves her way out of the crowd and goes to the edge so she can hear her.

MURPHY  
>No, you said it's on my bed?<p>

LOIS  
>Yes, Murphy. Unless it fell and somehow<br>tumbled under the bed, it should be there.

INT. MURPHY'S ROOM - CONTINUOUS  
>Murphy actually considers this. She gets down on her knees and slowly makes her way towards uncovering the sheets to see under the bed. SOMETHING MOVES.<p>

MURPHY  
>Lois, something is under here.<p>

LOIS  
>Like I said, it's the fucking box of confetti!<p>

MURPHY  
>No... something is moving...<p>

LOIS  
>Okay, than it's not the fucking box of confetti...<p>

Murphy grabs the sheet and slowly starts to lift it.

LOIS  
>(whispers)<br>What is it?

MURPHY  
>Sh...<p>

LOIS  
>Murphy!<p>

MURPHY  
>SH!<p>

Murphy bends down even lower and puts her head down. It's dark... she can't see anything. A CAT RUNS OUT FROM UNDER IT. She jumps back, startled.

EXT. SORORITY ROW - CONTINUOUS  
>Lois moves from where she is and towards the middle of the street where she can see Murphy's bedroom from her point of view.<p>

LOIS  
>What is it?<p>

MURPHY  
>It's just Jinx.<p>

LOIS  
>Pussy.<p>

MURPHY  
>I believe the socially accepted term these<br>days is just simply CAT.

LOIS  
>No, I was calling you a pussy.<p>

They both laugh.

INT. MURPHY'S ROOM - CONTINUOUS  
>Murphy stands back up.<p>

MURPHY  
>Okay but seriously, it's not here. Why<br>didn't you just bring it? !

LOIS  
>Because I didn't wanna look like a dumbass<br>coming to a rally with a whole box of  
>victory confetti if we lost. Right now,<br>looks like we got it in the bag! That girl  
>Niley is really racking us up points.<p>

MURPHY  
>Good.<p>

THE CLOSET BEHIND HER MOVES. Murphy slowly turns around. A soft sigh can be heard from behind the door... MURPHY STOPS BREATHING COMPLETELY.

LOIS  
>Murphy?<p>

Murphy inches her way towards the closet door.

EXT. SORORITY ROW - CONTINUOUS  
>Lois looks on at the window and she can see Murphy approaching the closet and then she's out of view.<p>

LOIS  
>What are you doing?<p>

BUMP. The phone on the other end sounds like it's been dropped. There's a shuffle.

LOIS  
>Murphy, cut it out. This isn't funny.<p>

MURPHY'S BODY CRASHES OUT HER WINDOW, A NOOSE AROUND HER NECK and she SLAMS ON THE SIDE OF THE HOUSE - - LIFELESS AND LIMP.

LOIS  
>Oh my God! Call an ambulance!<p>

The crowd is to rowdy. They don't even hear her. LOIS RUSHES TOWARDS THE HOUSE. The two security guards stand there and look at each other then rush in the house.

INT. NILEY'S ROOM - CONTINUOUS  
>Niley rushes to the door and LOCKS IT. She then looks to her window as an escape. She looks down - - three stories straight down.<p>

NILEY  
>Shit!<p>

INT. OMEGA BETA ZETA HOUSE - CONTINUOUS  
>The two security guards are already up the stairs, both searching different rooms. Lois runs up behind them and rushes directly towards Murphy's room; the door closed.<p>

LOIS  
>She's in this one!<p>

Lois kicks open the door - - AN AXE STRIKES HER DIRECTLY BETWEEN HER EYES. She falls like a paper weight and smashes to the floor. BLOODRED PULLS ON THE HANDLE AND DRAGS HER BODY INTO THE ROOM and slams THE DOOR. The security guards stand there in complete horror...

SECURITY GUARD #2  
>I don't get paid enough for this shit!<p>

The other security guard doesn't even need to say anything to agree. THEY BOTH BOLT DOWN THE STAIRS. Gus exits the bathroom.

GUS  
>Where's Niley? !<p>

SECURITY GUARD #1  
>Find her yourself, man!<p>

Gus RUNS UP THE STAIRS. The first security guard SWINGS OPEN THE FRONT DOOR - A KNIFE PENETRATES INTO HIS THROAT. Security Guard #2 then JUMPS BACK UP THE STAIRS. GHOSTFACE THROWS the guard's body to the ground and enters the house, SLAMMING THE DOOR SHUT. A Jeep pulls up outside and Ghostface peers out the window then runs to the side door and exits...

EXT. OMEGA BETA ZETA - CONTINUOUS  
>Dewey parks the car and looks on at the house and then back at Judy. Judy begins to open the door but Dewey touches her wrist.<p>

DEWEY  
>Okay... we'll talk about it.<p>

Judy closes the door and waits to listen.

DEWEY  
>I didn't tell Gale... I knew she would...<br>be mad. Especially if it was with you.

JUDY  
>You didn't tell Gale WHAT?<p>

DEWEY  
>Please don't make me say it.<p>

JUDY  
>You have to, Dewey.<p>

DEWEY  
>I didn't tell her about our kiss!<p>

JUDY  
>It was 4 years ago, Dewey. You were in a<br>rough patch, going through a divorce and  
>she was in New York. We were both in a<br>sensitive place back than. And now that  
>you've admitted it, we can put it behind<br>us. Okay?

INT. OMEGA BETA ZETA HOUSE - CONTINUOUS  
>Security Guard #2 runs straight for the first bedroom he sees - - INSIDE IS PEYTON AND JANE'S DEAD BODIES, LAYING ON TOP OF EACH OTHER WITH A POLE STICKING THROUGH THEM BOTH. He quickly closes the door and heads for the next room. He opens the door - - ZOMBIE STANDS THERE.<p>

SECURITY GUARD #2  
>HOLY SHIT!<p>

ZOMBIE GRABS HIM BY THE SHIRT AND PULLS HIM FORWARD, THROWING HIM OUT THE WINDOW. The guard's body flies out and SMASHES ONTO THE GATE surrounding the house, IMPALING HIM THROUGH THE CHEST. His body slumps over the gate, dead. Zombie looks out the window and hears a banging the room over.

Gus KNOCKS on Niley's door, BANGING LIKE A MAD MAN.

GUS  
>Niley, open the door!<p>

NILEY (O.S.)  
>How do I know I can trust you?<p>

INT. NILEY'S ROOM - CONTINOUS  
>Niley hides behind her bed, the small baseball bat gripped in her hand.<p>

GUS  
>Believe it's me, Niley, open the - -<p>

A KNIFE PENETRATES THROUGH THE DOOR - - BLOOD SPILLING DOWN. Niley freezes then looks up at the door.

NILEY  
>Gus!<p>

He's been silenced.

INT. OMEGA BETA ZETA HOUSE - CONTINOUS  
>ZOMBIE PULLS THE KNIFE OUT OF THE BACK OF GUS'S HEAD and then THROWS HIM OVER THE RAILING, sending his body CRASHING THROUGH A GLASS TABLE. Zombie begins STABBING AT NILEY'S DOOR LIKE A MAD MAN.<p>

INT. NILEY'S ROOM - CONTINUOUS  
>Niley covers her ears, trying to figure out how to get out of this situation. The stabbing stops... Niley's eyes shift... HER PHONE RINGS. She looks down at it - - UNKNOWN CALLER. She knows the drill... she answers.<p>

NILEY  
>... Go for Niley?<p>

GHOSTFACE  
>Oh, good, it's you. I had my doubts.<p>

NILEY  
>What do you want?<p>

GHOSTFACE  
>We're gonna play a game. You remember those, right?<p>

NILEY  
>Go ahead, make my day! I'll bitch slap any<br>questions you throw at me with ease.

GHOSTFACE  
>(chuckles)<br>What makes you think you're so sure this time?

NILEY  
>Bring it and I'll show you!<p>

GHOSTFACE  
>Oh Niley, your confidence is really going<br>to be your biggest weakness this time around  
>but I'll let you decide what type of round<br>you get for your own benefit.

NILEY  
>Gauntlet me for all I care.<p>

GHOSTFACE  
>(chuckles)<br>Oh, this'll be just like old times.

NILEY  
>Only you're not Martha Meeks or Joseph Morris.<p>

GHOSTFACE  
>Are you sure about that? How could you be<br>so sure... you didn't see either of them die?

NILEY  
>Well I heard they both looked pretty good<br>with a bullet in their head and being decapitated  
>so I'll take the word for it.<p>

GHOSTFACE  
>(laughs)<br>Oh, you're good, Niley! You're sick! You're  
>twisted I would even say. Too many horror<br>movies rot your feeble mind? Has living  
>one turned you into a desensitized puppet?<p>

NILEY  
>Like I said, TEST ME and find out and let's<br>get this shit over with!

GHOSTFACE  
>(beat)<br>Question 1 out of 4; what's the name of the  
>green monster that's made out of body parts stolen<br>from the grave, has bolts in his neck and their  
>creator exclaimed "it's alive!" when it came<br>to life?

NILEY  
>Frankenstein's Monster, you kidding me?<p>

GHOSTFACE  
>... QUESTION 2 OUT OF 4; what is the name<br>of Norman Bates's mother?

NILEY  
>(singing the 'a')<br>Normaaaaaaa.

GHOSTFACE  
>3 out of 4; what was originally going to<br>be a sequel to Black Christmas but started  
>it's own franchise?<p>

NILEY  
>(rolls eyes)<br>Halloween.

GHOSTFACE  
>Last question... what was the original name<br>of The Evil Dead?

NILEY  
>(snapping to it)<br>Within the Woods.

GHOSTFACE  
>(beat; chuckles)<br>I'm sorry... that's incorrect!

NILEY  
>No, it's not.<p>

GHOSTFACE  
>The original name of the film was "Book of<br>the Dead." Was for quite awhile, it was even  
>SCREENED in theaters with that name until<br>it was eventually changed. "Within the Woods"  
>was the name of the short film Sam Raimi<br>made to help get his project, "Book of the  
>Dead" off the ground and produced.<p>

NILEY  
>... you know, you worded that question<br>weird. Let me try again.

GHOSTFACE  
>NILEY... YOU GOT IT WRONG. END OF STORY.<p>

NILEY  
>Uuhhhhh... yo no hablo ingles!<p>

GHOSTFACE  
>What? !<p>

NILEY  
>Lo siento! Lo siento! Yo no hablo ingles!<p>

GHOSTFACE  
>THAT'S IT.<p>

ZOMBIE KICKS THE DOOR DOWN and NILEY CLUTCHES THE BAT, SWINGING LIKE A MAD WOMEN. She literally breaks everything around her in defense. Zombie stands back for a moment and watches her swing... Niley opens her eyes... she nervous laughs. ZOMBIE RUSHES HER and NILEY SWINGS THE BAT against Zombie's head and she makes a RUN FOR THE DOOR.

INT. OMEGA BETA ZETA - CONTINUOUS  
>Niley sprints towards the stairs - - BLOODRED POPS OUT FROM MURPHY'S ROOM AND CHARGES HER.<p>

NILEY  
>OH! What the fuck - - ?<p>

Niley nearly slips down a few stairs from the surprise but she continues on. SHE MAKES IT TO THE DOOR and EXITS.

EXT. OMEGA BETA ZETA HOUSE - CONTINUOUS  
>Niley runs RIGHT OUT THE DOOR and sees Dewey's car parked outside of her house. SHE RUNS DIRECTLY TOWARDS IT. Nessa comes up from the side, carrying her sandwiches.<p>

NESSA  
>Hey Niley, sorry I took so long. I had<br>to go borrow some jelly.

NILEY  
>(grabbing her hand)<br>C'MON!

NESSA  
>(following along)<br>What's going on? !

ZOMBIE AND BLOODRED CHARGE THEM BOTH FROM OUT THE FRONT DOOR.

NESSA  
>OH MY GOD!<p>

They reach Dewey's car and Niley looks inside - - they're both knocked out. She slams on the door, trying to wake them up.

NILEY  
>Dewey! Dewey!<p>

THE TWO APPROACH CLOSER.

NESSA  
>FUCK IT! Let's go!<p>

NESSA PULLS Niley and they continue running, heading towards the the rally still going on.

RALLY SPEAKER  
>And the winner for best sorority is - -<br>(opens envelope)  
>Omega Beta Zeta!<p>

The crowd cheers and the speaker looks up, noticing Niley is running towards them, waving her hands in the air at them.

RALLY SPEAKER  
>Oh and here comes sorority sisters, Niley<br>Krinkey and Nessa Myers to come accept the award!

ZOMBIE AND BLOODRED RUN TOWARD THE CROWD AFTER THEM.

RALLY SPEAKER  
>Followed by two pranksters who think it's<br>still funny to dress up like Ghostface...

Niley and Nessa reach the crowd, trying to blend in.

RALLY SPEAKER  
>Come on up, girls! We're proud of your sorority<br>and all the efforts you have made to make it  
>the absolute best on campus!<p>

Niley and Nessa run and jump on the stage, pushing the speaker out of the way.

NILEY  
>Everybody, RUN! This isn't a joke!<p>

Zombie and Bloodred push their way through the crowd as they all laugh. Niley and Nessa DUCK OUT once they hit the stage. The speaker looks at them disapprovingly.

RALLY SPEAKER  
>Stupid kids with your STUPID PRANKS.<p>

BLOODRED STABS IN THE CHEST AND THROWS HIM TO THE GROUND. The crowd watches in shock... SCREAM THEN DISPERCE. Bloodred and Zombie both jump back off the stage, trying to follow Niley and Nessa through the madness.

A random frat guy approaches them, trying to stop them. Zombie wastes no time and STABS THEM IN THE STOMACH and pushes them out of the way. And another guy - - and another guy - - and another guy who all get the same fate, leaving behind four men laying on the asphalt, bleeding to death. Everyone else gets the idea and runs with the rest of the crowd.

Niley and Nessa continue running, this time heading for the college to be in a big open area. Niley takes out her phone and dials Sidney.

INT. HOSPITAL LOBBY - CONTINUOUS  
>Sidney makes her way back to the elevator, finishing a call already. The elevator opens and she makes her way in. She gets a call and backs away from the elevator.<p>

SIDNEY  
>Niley, are you on your way?<p>

NILEY (O.S.)  
>THEY'RE COMING!<p>

SIDNEY  
>Wh-who's coming?<p>

NILEY (O.S.)  
>The killers, who else! Dewey and Judy are<br>knocked out in their car, I need you!

SIDNEY  
>Okay, just try to hide and I'll be right there!<p>

SIDNEY JETS OUT OF THE LOBBY AND OUT THE BUILDING INTO THE PARKING LOT.

INT. COLLEGE HALL - CONTINUOUS  
>Niley and Nessa BURSTS through the doors and look around, it's empty. They look at each other in a panic.<p>

NESSA  
>I haven't done enough cardio for this!<p>

NILEY  
>Where's the last place you think they'll<br>look for us!

NESSA  
>I don't know, the roof?<p>

NILEY  
>Good idea!<p>

She pulls Nessa along and they head for the stairs.

NESSA  
>I was just kidding!<p>

ZOMBIE AND BLOODRED BURSTS THROUGH THE DOORS. They stop for a moment and look around - - Nessa can be heard panting her way up the stairs. THEY HEAD TOWARDS IT.

INT. COLLEGE TOP FLOOR - CONTINUOUS  
>Niley and Nessa make it to the top floor and look around down the hallway.<p>

NILEY  
>Which one is the doorway to the roof!<p>

NESSA  
>(trying to breath)<br>Niley, I have no clue! You go here, too, ya know?

NILEY  
>You kidding me, I just found out just yesterday<br>we have a library!

Niley pulls Nessa along and they head towards the window at the end of the hall. Niley looks out and sees the roof below in a V shape, connected to another part of the building; she prys it open. Nessa watches, flabbergasted.

NESSA  
>What are you doing?<p>

NILEY  
>This is the roof, Nessa! It was your plan!<p>

NESSA  
>Okay, this isn't gonna - -<p>

ZOMBIE AND BLOODRED CHARGE TOWARDS THEM.

NESSA  
>Okay, fuck it!<p>

Nessa jumps out the window first and SLIDES all the way down the tiles to reach the bottom of the V. Niley then comes second and holds herself against the side of the building, out of view of the window. Nessa looks up at her.

NESSA  
>What are you doing? !<p>

NILEY  
>Just go! I'll be there in a second!<p>

Nessa start climbing up the other side of the V to the other window. BLOODRED REACHES THE WINDOW AND LOOKS OUT. Niley GRABS them and THROWS THEM OUT and they crash down the side of the roof, SLIDING ALL THE WAY DOWN to the bottom of the V. ZOMBIE THEN POKES OUT and SLICES AT Niley. Niley tries to sidestep further away. ZOMBIE STEPS ALL THE WAY OUT. NILEY RUSHES HIM AND KICKS HIM IN THE KNEECAP, CRACKING IT. ZOMBIE LETS OUT A GROAN AND FALLS DOWN THE ROOF, SLAMMING ALL THE WAY DOWN INTO an already knocked out Bloodred. Niley climbs back into the window and looks across the way to Nessa at the other window.

NESSA  
>You're not coming? !<p>

NILEY  
>Meet me back by the house! GO!<p>

Nessa nods and she runs down the hallway, Niley doing the same on her side going towards the stairs.

EXT. WINDSOR CAMPUS - CONTINUOUS  
>Niley bursts through the door and comes to the outside. She then BOOKS IT towards the house - - she looks around. Nessa can't be found. Plenty of college kids are still running around, trying to find safety.<p>

NILEY  
>NESSA!<p>

EXT. OMEGA BETA ZETA - CONTINOUS  
>She continues on anyway and heads to the house. She passes Dewey's car and stops to look back again. She then looks back inside - - they're still knocked out. She tries to open the car door - - it's locked. SHE POUNDS ON THE WINDOW.<p>

NILEY  
>Dewey! Judy! Wake up!<p>

GHOSTFACE RISES FROM BEHIND HER AND RUSHES TOWARDS HER. She looks back and HE PUNCHES HER ACROSS THE FACE. She falls to the ground, HITTING HER HEAD ON THE REARVIEW MIRROR, BREAKING IT OFF. She's dazed and Ghostface GRABS HER by the feet and pulls her over to a van parked behind Dewey's car.

NESSA CAN BE SEEN COMING IN THE DISTANCE. GHOSTFACE LOOKS UP and quickly THROWS Niley's body inside, slamming the door shut and locking it. Nessa is clearly out of breath, barely able to make it.

NESSA  
>Niley!<p>

She continues forward and she herself looks back into Dewey's car. She cries a bit, not sure of what to do.

NESSA  
>(taking out her phone)<br>Where are you?

She begins dialing - - FROM BEHIND, GHOSTFACE GRABS HER AND SLAMS HER HEAD AGAINST Dewey's hood, knocking her out. Ghostface then PICKS HER UP and throws her also in the van, toppling against Niley.


	21. Dawn of the Dead

EXT. WINDSOR CAMPUS - CONTINUOUS  
>Back by the building, Bloodred walks alone back towards sorority row. Bloodred stops and falls back - - Zombie is limping out of a door and falls within some bushes, holding their knee. Bloodred watches... peering on from afar...<p>

Zombie UNMASKS THEIRSELF - - it's Everett. He wipes his brow of the sweat and tries to contain the pain. He then continues to take off the rest of his costume and rolls it up in a ball, SETTING IT ON FIRE. Bloodred does nothing but watches...

EVERETT  
>(to himself)<br>I'm done with this.

He then gets up and limps around the building - - Bloodred keeping a safe distance to not be seen. Everett sees a frat guy and stops him, pleading.

EVERETT  
>Excuse me! I think I broke my knee running<br>away! You think you can give me a ride back  
>to my house?<p>

The frat guy nods and he throws his arm over his shoulder as they walk over to a parking lot.

EXT. OMEGA BETA ZETA - CONTINUOUS  
>Bloodred can be seen coming in the distance, slowly walking across the field towards the house. Ghostface looks on and begins pushing Dewey's body over across the one seated front seat. Bloodred reaches Ghostface - - Ghostface throws a set of keys to Bloodred. They catch it and head to the van.<p>

Bloodred then looks on towards a parking lot - - Everett is getting inside a car with the frat guy. Bloodred watches it pull out. He then gets in the van and turns it on... Ghostface watches them pull away. Police sirens can be heard coming.

CUT TO:  
>EXT. EVERETT'S HOUSE - NIGHT<br>The frat guy drops Everett off at his two story house with a large tree sitting out front. Everett taps the top of the car door and he drives off. Everett limps to the door. We PAN watching the car drive away - - and see the VAN PULLING UP.

INT. EVERETT'S BATHROOM - CONTINUOUS  
>Everett comes into the bathroom, reeling in pain. He opens the medicine cabinet and takes out a knee wrap. He then proceeds to wrap it around his knee, trying not to give into the pain. He hears the door open from downstairs... he slowly pokes his head out the door. All is quiet in the house... he looks down the stairs... he shakes his head - - it's nothing.<p>

INT. EVERETT'S BEDROOM - CONTINUOUS  
>Everett lays down in his bed, trying to get comfortable and keep from feeling all the pain. He closes his eyes...<p>

Moments later... HE SUDDENLY WAKES UP. SOMETHING IS PULLING ON HIS NECK AND HE CAN'T BREATHE. He grabs hold - - it's a ROPE. It then PULLS HIM OUT OF BED and he FLIES STRAIGHT OUT THE WINDOW.

EXT. EVERETT'S HOUSE - CONTINUOUS  
>His body falls two stories down and comes SLAMMING onto the grass. He stops for just a moment - - catching his breath. A MOTOR REVVS and his BODY SLIDES ACROSS THE GRASS and then suddenly is LIFTED UP INTO A TREE. He breaks through all the branches and twigs of the tree until almost reaching the top and then suddenly he comes PULLING STRAIGHT OUT. His body breaks through the branches and FLIES OUT and lands DIRECTLY into the street.<p>

His body rolls further along - - and stops. From head to toe, he is completely lacerated. He can barely move as most of his bones are broken. We then FOLLOW the rope wrapped around his neck - - it's tied to the bumper of the van. OUT COMES BLOODRED, slowly walking towards Everett's twitching body.

Bloodred stands above him and kneels down next to Everett's head. Everett can't even speak - - only shiver. Bloodred brandishes his blade.

BLOODRED  
>You're PATHETIC!<p>

Bloodred PLUNGES his knife into Everett's chest and looks him directly in the eyes. He PULLS the knife out and raises it even HIGHER.

BLOODRED  
>You're no Billy Loomis!<p>

HE STABS HIM IN THE STOMACH, Blood POURING out of Everett's mouth.

BLOODRED  
>You don't get one final scare...<p>

HE STABS HIM IN THE HEAD. Bloodred ANGRILY pulls the knife out of Everett's skull and returns to the van, leaving Everett's bloddy body in the street. He cuts the rope connected to the bumper and jumps back in the driver seat and DRIVES AWAY...


	22. An Apology

CUT TO:  
>EXT. OMEGA BETA ZETA HOUSE - NIGHT<br>Sidney drives up and parks - - COPS SWARM THE PLACE. Taking pictures, talking to witnesses. Where Dewey's car used to be is now gone. She begins to tear up - - her phone rings. UNKNOWN CALLER.

SIDNEY  
>You son of a bitch...<p>

She answers it...

SIDNEY  
>What did you do to her?<p>

GHOSTFACE  
>Oh, we're catching on to when you know it's me? Good.<p>

SIDNEY  
>What the fuck did you do to her!<p>

GHOSTFACE  
>Nothing... yet. She's safe... for now.<p>

SIDNEY  
>Where is she?<p>

GHOSTFACE  
>You know where, Sidney... think hard...<p>

SIDNEY  
>I don't have time for anymore games!<p>

GHOSTFACE  
>And I'm getting exhausted with this bull shit...<br>so I'll just tell you. Where it all ENDED the  
>first time. I'm sure you know your way to<br>Woodsboro. The city that MADE you.

SIDNEY  
>Don't you dare TOUCH HER! She's a sweet girl!<p>

GHOSTFACE  
>Oh, I wouldn't dream of it. I have no aspirations<br>of such... you're at Windsor... be here in 20.

SIDNEY  
>It's at least 40 minutes away!<p>

GHOSTFACE  
>Then you better PUNCH ON IT or she DIES.<p>

Sidney starts the car back up and hangs up the phone, THROWING IT onto the passenger seat. The phone rings again - - it's Mark. But she's too pre-occupied with driving out of there.

CUT TO:  
>INT. MARK'S HOSPITAL ROOM - NIGHT<br>Mark THROWS the phone across the room in a rage. He looks out the window - - Morrison, Gale and Eileen are all there, along with a bunch of other cops.

MARK  
>I can't do this... I can't!<p>

Mark pulls the curtain around his bed to cover it up and he takes off all the wires connected to him. He grabs his clothes - - his heart monitor flat lines. He runs to the bathroom and waits by the frame of the door. Nurses RUSH in the room, along with Gale, Eileen and Morrison.

GALE  
>What's going on, is everything okay?<p>

They open up the curtain - - he's gone. He's already slipped out the door after they came in.

EILEEN  
>What the - -<p>

Gale's phone rings. It's Dewey. She takes it out of the room answers.

GALE  
>Dewey, Kincaid is gone!<p>

GHOSTFACE  
>AND YOUR HUSBAND WILL BE TOO.<p>

GALE  
>(realizing who she's talking to)<br>... where is he?

GHOSTFACE  
>Where it all began, Gale... your rise to fame.<br>With one phone call... you remember, don't you?

GALE  
>Okay, okay, just don't hurt him, I'll be there.<p>

GHOSTFACE  
>Don't mind the mess I made with the owners who<br>have the house now. That was just - - circumstance.

GALE  
>(tears up)<br>Please don't hurt my husband.

Eileen walks up, massaging Gale's shoulders.

EILEEN  
>What's wrong?<p>

GHOSTFACE  
>Hurry up, Gale... their time is RUNNING OUT.<p>

GALE RUSHES DOWN THE HALL hanging up the phone, Eileen following behind. Morrison watches, unsure of what to do.

EILEEN  
>Gale, wait!<p>

GALE  
>You stay here, Eileen! This is something I<br>have to take care of.

EILEEN  
>Gale, no, I'm coming! Whatever is wrong, I<br>can help!

GALE  
>You can't help this!<p>

Eileen stops and watches Gale continue on. She sighs and watches Gale get on the elevator and the doors close.

EILEEN  
>(walking forward, to herself)<br>Over my dead body, I can't!

CUT TO:  
>EXT. MARK'S APARTMENT COMPLEX - NIGHT<br>Mark's car DRIVES UP to his complex in a dash and SLAMS on the brakes, parking. He exits the car, now back in his regular clothes with his suit on and runs up the steps to his home.

INT. MARK'S APARTMENT - CONTINUOUS  
>Mark bursts through the front door in a hectic manner and looks around, concerned.<p>

MARK  
>Dad?<p>

He's nowhere to be seen. Mark continues the search, going from room to room.

MARK  
>Dammit! Dad, are you here?<p>

Mark goes back to the door. Roger exits the hallway.

ROGER  
>Son, is everything okay?<p>

MARK  
>(sighs)<br>Oh, thank God.

ROGER  
>What's wrong?<p>

MARK  
>Dad, did Sidney come by?<p>

ROGER  
>I've been sleeping in the office, I'm sorry.<p>

MARK  
>What about the officers I sent over?<p>

ROGER  
>Like I said, out like a whistle.<p>

MARK  
>Shit.<br>(dialing on his phone again)  
>Then I don't know where she is!<p>

ROGER  
>Look, Mark, just calm down, let's figure<br>this out.

MARK  
>Calm down? She's the most important thing<br>I've ever had in my life. Calm down is  
>the last thing I need if it's to find her.<br>(he gets no answer)  
>Dammit.<p>

ROGER  
>Well let's think this through.<p>

MARK  
>I don't have time. Use the bathroom,<br>whatever you need to do, you're coming  
>with me to find her.<p>

ROGER  
>Okay son, I just - - oh, I do remember<br>one thing though that I wanted to tell you.

MARK  
>What?<p>

THUMP. There's a long pause... Mark looks down. Blood pours from his chest where his heart is. He looks back up at his father, tears in his eyes. Roger sighs, a gun in his hand.

ROGER  
>I'm sorry, son.<p>

Mark let's out one last breath... and falls to the ground.

Let's get to 65 reviews today, yeah?  
>THE THREE PART, GRAND FINALE, TONIGHT 11:59 PM. DON'T FORGET!<p> 


	23. The End: Part 1

*Due to the popular demand of the story, when reviewing, please use the spoiler tag - - *MAJOR SPOILER ALERT* - - to be sensitive to others who have yet to finish. Thank you and enjoy.*

THUMP. There's a long pause... Mark looks down. Blood pours from his chest where his heart is. He looks back up at his father, tears in his eyes. Roger sighs, a gun in his hand.

ROGER  
>I'm sorry, son.<p>

Mark let's out one last breath... and falls to the ground.

-

Roger watches his son wither in pain on the floor. It's breaks his heart... but - -

ROGER  
>This was just necessary now, Mark. It was<br>about to get out of hand.

Mark tries his best to breath with all the wind knocked out of him. Roger puts the gun back in his pocket and kneels down towards his son. Mark still can't believe it; his eyes are the most shocked they've ever been.

ROGER  
>But I hope you understand why. You do<br>understand why, don't you?  
>(beat)<br>Your mother and I - - we loved Sidney. We  
>loved her as our own daughter... but we didn't<br>love her FOR YOU. Trouble seemed to gravitate  
>towards her no matter where she went and even<br>though you were a detective and even though you  
>are old enough to protect yourself... I didn't<br>want to risk my son being hurt.  
>(beat)<br>But no matter what happened... you always  
>went back... no matter how many times I tried<br>to warn you. No matter how many times she  
>was attacked.<br>(beat)  
>Now... if you weren't going to stay away from<br>her... then I was going to make sure, she would  
>stay away from you. To get rid of her once<br>and for all. And to think, she hurt your mother  
>so badly. She was looking forward to seeing you<br>get married for years and then, what does Sidney  
>do? Call it off. And you know what happened<br>not too long after that, Mark? Your mother died.  
>From heartbreak. Because of her. I couldn't<br>just let that pass... and then I hear... once  
>again, after your mother is gone, that this time<br>you are getting married... FOR SURE. I can't even - -  
>begin to explain how much this infuriated me.<br>After we wanted you to stay away and then we warmed  
>up to her and then she CANCELS the wedding, KILLING<br>your mother, she has the NERVE to bring you back  
>into her life and then get married afterall?<br>(beat)  
>And then I found something... an answer to what<br>I needed... the Ghostface Society. Now, I'm  
>too old to throw on a cloak, wear a mask and<br>chase people around trying to kill them so I took  
>another part. A part that in my old age, people<br>wouldn't take the benefit of the doubt that I  
>could do.<br>(beat)  
>I'm an organizer, son... it's what I do... I<br>organize. So I constructed the website to be  
>better than it ever was before. Collected the<br>user data, set up the forums and made sure the  
>meetings took place - - all behind a computer<br>screen. Like a God... constructing murder.  
>Towards your wife so you could finally be safe.<br>And the last place you would think to look...  
>would be in your own office.<br>(beat)  
>But there's no stopping you... so it was time<br>I took you out of your misery... and tonight,  
>they are going to kill Sidney Prescott-Kincaid.<br>And you're not going to stop it, Mark. I  
>love you too much...<p>

Mark lets out final tear... and his eyes close... he's gone. Roger's jaw trembles and he sighs deeply. He stands up and makes his way to the kitchen and dials on his cell phone.

ROGER  
>(into the phone)<br>It's been done. You will have no interference.  
>(waits)<br>I don't care what you do. My son is gone and  
>therefore my part in this is done as well.<p>

Roger hangs up the phone and pulls out a TANK OF GASOLINE from under the counter and walks over to the dining room table, setting it down. He goes to the closet, opens it - - a body falls out. He turns it over - - Detective Panama. Dead with his throat slit. Roger reaches into his pockets and takes out a small bag filled with tiny white looking capsules - - THEY'RE TEETH. Roger spreads them around Panama's head. He then checks Panama's mouth - - he has a full set.

ROGER  
>They never get the job done!<p>

Roger walks back to the kitchen and grabs a pair of pliers and comes back down, YANKING PANAMA'S TEETH OUT and replacing the ones of his own, filling up the bag. To make sure measures work out correctly, Roger then POPS his own false teeth out and places them in Panama's mouth. He grabs the gasoline and pours it over his body.

Roger walks into the office and looks at the hardware... he pours the gasoline all around - - before he reaches the actual hard drive, he runs out. Roger throws the can down and returns to the kitchen. He bends down, picking up another tank and starts walking back to the office.

MARK  
>Dad.<p>

Roger quickly turns around.

MARK  
>(revealing under his shirt)<br>Blood-vest.

MARK SHOOTS HIS FATHER IN THE RIBS, blowing Roger back into the wall. Roger slides down the wall, leaving a trail of blood. Blood pours from his mouth as he tries to take in his last moments. Mark walks over and kneels down.

MARK  
>Where is she?<p>

ROGER  
>You never - - LEARN.<p>

MARK  
>Where's my wife? TELL ME!<p>

ROGER  
>(choking on his blood)<br>You're already too late... coming here...  
>you went in the wrong direction...<p>

MARK  
>Is she in Woodsboro?<p>

ROGER  
>(smiles)<br>My son... the detective.

MARK  
>Where in Woodsboro?<p>

ROGER  
>She's at one of two places... but it won't<br>matter because you won't get to her in time.

MARK  
>Fuck this.<p>

Mark grabs the gasoline from Roger's hand and takes the lighter from his pocket and heads for the door.

ROGER  
>Aren't you gonna finish me off? !<p>

Mark stops at the door and slowly looks back at his dying father, laying in a pool of his own blood.

MARK  
>I'm not gonna kill you... but I won't save you either.<p>

Rorger grins and begins to chuckle. Mark opens the door, taking one last look at the man that betrayed him. And he closes the door, leaving him to die.

CUT TO:  
>EXT. CASEY BECKER'S HOUSE - NIGHT<br>Gale's car drives up the drive way and parks. She gets out of the car and looks on, the music RISING. This is it. The beginning of the end. She slams the car door and runs to the house. The door is open... she walks in.

INT. BECKER'S LIVING ROOM - CONTINUOUS  
>Gale slowly makes her way in - - the house is smokey. She comes in further - - furniture is tossed around in a mess. She comes by the kitchen - - a Jiffy Pop is on the stove, burning.<p>

INT. BECKER'S KITCHEN - CONTINUOUS  
>Gale runs in and grabs the Jiffy Pop and throws it in the sink, extinguishing the flame. She continues to look around... this is nostalgia to an extent we've never felt before.<p>

THE HOUSE PHONE RINGS. The music rises. An older phone; cordless but no caller ID: white, basic, huge antenna. A newer, tech advanced phone is off to the side, ripped from the wall. Gale hesitates only for a moment... and picks it up. The soundtrack goes quiet...

GALE  
>Hello?<p>

GHOSTFACE  
>Glad to see you can join us, Gale. We've<br>been waiting...

GALE  
>Where's my husband?<p>

GHOSTFACE  
>He's waiting... for you. Go to the entertainment<br>room...

INT. BECKER'S ENTERTAINMENT ROOM - CONTINUOUS  
>Gale slowly enters - - the glass window leading to the backyard patio makes it seem pitch black outside aside from the pool lights.<p>

GHOSTFACE  
>C'mon Gale, you know the next step!<p>

GALE  
>You want me to turn on the patio light?<p>

GHOSTFACE  
>Goooood...<p>

Gale closes her eyes, preparing herself for what she's about to see... she slowly walks over, trying to see what's out there before she has to see it in all of it's glory... she flicks the switch on - - CHUCK, JUDY AND DEWEY ARE ALL LINED UP NEXT TO EACH OTHER, TIED TO CHAIRS WITH TAPE ACROSS THEIR MOUTHS.

GALE  
>Oh my God!<p>

GHOSTFACE  
>Now you know the rules... you try to save<br>them or if you even OPEN that door, I will  
>DISPATCH ONE OF THESE FUCKERS without batting<br>a single eyelash, understood?

GALE  
>(whimpers)<br>Yes.

She looks on at Dewey, beat up from head to toe. Judy tries to remain strong and holds her ground. Chuck looks like he has no clue as to why he's even there.

GHOSTFACE  
>It's time, Gale, are you ready for YOUR game?<br>You've never had one... have you?

GALE  
>No... just, please, just let us go.<p>

GHOSTFACE  
>Interesting that such an HONOR as that has<br>SLIPPED you by so many times. How do you  
>think THAT happened? After all, you took<br>the murders and made them into your success.  
>If ANYONE should be put on the frontline,<br>Gale, it's YOU.

GALE  
>I was just doing my job.<p>

GHOSTFACE  
>NO, doing your job would be to report. Stand<br>and deliver in front of the camera and in  
>front of the world, letting them know what<br>happened and going home. Not writing  
>BOOKS about it, not making MOVIES and getting<br>the executive producer credit so you can cash checks.  
>All the lives you've made money off of, Gale.<br>Now it's time that we find out if you truly  
>appreciated what MADE your success.<p>

GALE  
>What?<p>

GHOSTFACE  
>It's why you're famous. So this should be<br>relatively EASY for you. Let's start with  
>a warm up around, you seem a little high strung.<p>

Gale puts her hand on the glass, trying to connect with Dewey in anyway possible.

GHOSTFACE  
>Who was the first to die in the initial<br>Woodsboro Massacre?

GALE  
>Steven Orth.<p>

GHOSTFACE  
>Correct! See, you're doing great, Gale.<br>Maybe you'll be able to get yourself out  
>of this one after all. Now, THREE QUESTIONS,<br>THREE LIVES TO SAVE. Answer one right,  
>the first one lives all the way down the row.<br>And then we end with YOU. Get them all  
>right, you win. You all survive. Simple, right?<p>

GALE  
>Please - - we don't deserve this. We're all<br>good people, just let us go, please...

GHOSTFACE  
>... Okay, sure, let me just go untie them and - -<br>WHO THE FUCK DO YOU THINK YOU'RE TALKING TO? !

Gale shivers and the tears begin to fall.

GHOSTFACE  
>Here we go... first question... to save<br>Chuck Ricci...

Chuck rocks back and forth, completely scared out of his mind.

GHOSTFACE  
>What was Billy Loomis's father's name?<p>

GALE  
>(trying to breathe softer)<br>Hank Loomis.

GHOSTFACE  
>CORRECT! Chuck lives! Thank to GOD that<br>Gale saved YOU of all people here tonight,  
>Chucky! You get to live to be someone's friend<br>until the end afterall. But just hang tight,  
>I'll let you loose soon enough...<p>

Chuck stops rocking back and forth and finally comes to some ease.

GHOSTFACE  
>Second question... to save Judy... who was<br>originally the killer in Stab 3 before they  
>were MURDERED in real life?<p>

GALE  
>(gulps)<br>Me. Gale Weathers played by Jennifer Jolie.

GHOSTFACE  
>(chuckles)<br>Judy, you count your lucky stars, you made it!  
>NOW, for the one that matters the most... your<br>precious Dewey... can you do it for your husband, Gale?

GALE  
>(softly)<br>Yes.

GHOSTFACE  
>I can't hear you, I guess I gotta RIP OUT HIS<br>INTESTINES WITH MY BARE HANDS.

GALE  
>Yes! YES! YES, YOU FUCKER!<p>

GHOSTFACE  
>At the time of the Woodsboro Anniversay Massacre,<br>who was the Cinema Club president before they  
>were MURDERED, leaving Roy in charge?<p>

GALE  
>That kid, with the - with the thing on his<br>head. What's his name, uh - -

Ghostface clicks his tongue to the sound of a ticking clock.

GALE  
>Robbie! Robber Mercer!<p>

GHOSTFACE  
>Oh Lord, halleilujah! Dewey has been saved!<br>How proud do you feel right now, Gale? You're  
>ALMOST DONE. You ready for your FINAL question?<p>

GALE  
>C'mon!<p>

GHOSTFACE  
>Which two victims who were involved in completely<br>different Ghostface related massacres were  
>relatives? Not including Randy or his sister, Martha...<p>

GALE  
>I... I don't think... is this a trick question?<p>

GHOSTFACE  
>I'm beyond that. I like to give a fighting chance.<br>(pepping her on)  
>You can do it, Gale, c'mon, I believe in ya!<p>

GALE  
>How the fuck am I supposed to know? !<p>

GHOSTFACE  
>REMEMBER GALE... YOU WROTE THE BOOK ON THIS.<p>

GALE  
>None of them were related!<p>

GHOSTFACE  
>Are you sure? Is that your - - FINAL answer?<p>

GALE  
>Oh God, no, just give me another second!<p>

GHOSTFACE  
>For what? For you to shift through your memory<br>of all the IMPORTANT ones that died and that  
>you capitalized on?<p>

GALE  
>Just shut up for a second!<p>

GHOSTFACE  
>Your time is running out, Gale...<p>

GALE  
>Hold on!<br>(thinks real hard)  
>Fuck! Uh...<br>(trying the best she can)  
>Can I get a lifeline or something?<p>

GHOSTFACE  
>A lifeline? ! This is a game of LIFE or DEATH.<br>That would be damn near redundant. Okay, I'll  
>give you a TINY hint... their last names start<br>with a 'c'.

GALE  
>Uh...<p>

GHOSTFACE  
>5 seconds...<p>

GALE  
>It's coming to me...<p>

GHOSTFACE  
>3...<p>

GALE  
>Just hold on!<p>

GHOSTFACE  
>1...<p>

GALE  
>... Casey Cooper and Marnie Cooper! Casey<br>was murdered on the Windsor campus in 1998,  
>Marnie Cooper in the Anniversary Massacre in 2011!<br>They were cousins!

GHOSTFACE  
>... good job, Gale! Everybody give her a<br>round of applause... oh wait, they can't. Now,  
>you see, I would cut them loose so they can but<br>first... they're gonna have to watch YOU DIE.

GALE  
>What? I got the fucking answer right!<p>

GHOSTFACE  
>But at the end of the time limit... sorry.<br>Those are the rules...

GALE  
>FUCK YOU! FUCK YOU, YOU PIECE OF SHIT!<p>

GHOSTFACE  
>(chuckles)<br>Oh, you're funny, Gale, I don't wanna kill  
>you... in fact, I think it would be much<br>more fun if we moved back to the three  
>guests WAITING OUTSIDE.<p>

GALE  
>No!<p>

GHOSTFACE  
>Your life for ONE OF THEIRS. You get to<br>pick. Another person you can watch die and  
>you can go get rich off of it!<p>

GALE  
>I'm not doing that!<p>

GHOSTFACE  
>Then I guess I'll just have to pick for you...<p>

THE MUSIC BEGINS TO INTENSIFY.

GALE  
>Please, don't do this!<p>

GHOSTFACE  
>Should it be CONTESTANT NUMBER 1, CHUCK<br>RICCI? First person to EVER survive an  
>initial attack that started off an on leading<br>massacre! But sadly, he had to leave behind  
>a few friends - - and a few loved ones.<p>

GALE  
>No!<p>

GHOSTFACE  
>Or should it be CONTESTANT NUMBER 2, JUDY<br>HICKS? New friend of yours, admittedly,  
>you weren't too keen on her before and<br>her lemon squares but she's GROWN on you.  
>She is currently survived by her one son<br>and - - OH, that's it. She doesn't HAVE shit else.

GALE  
>Please!<p>

GHOSTFACE  
>ORRRR last but not least, CONTESTANT NUMBER<br>3? Your husband, the sherriff of this GREAT  
>town, Dwight Riley? A bit clumsy but very<br>lovable but a devoted husband... sometimes.

GALE  
>What does that mean?<p>

GHOSTFACE  
>Oh... you haven't heard? Dewey didn't tell<br>you... did he?

Dewey turns his head to Judy and back to Gale.

GALE  
>Tell me what?<p>

GHOSTFACE  
>Oh, I hate to be the one to tell you this<br>Gale but you see... Judy and Dewey there had  
>a little... lip action while you were gone<br>away in New York four years ago...

GALE  
>That's not true.<p>

GHOSTFACE  
>It's NOT?<p>

Ghostface plays a tape... Dewey's voice then can be heard:

DEWEY (O.S.)  
>I didn't tell Gale... I knew she would...<br>be mad. Especially if it was with you.

JUDY (O.S.)  
>You didn't tell Gale WHAT?<p>

DEWEY (O.S.)  
>Please don't make me say it.<p>

JUDY (O.S.)  
>You have to, Dewey.<p>

Gale preps for what she's about to hear.

DEWEY (O.S.)  
>I didn't tell her about our kiss!<p>

This shatters her entire world...

JUDY (O.S.)  
>It was 4 years ago, Dewey. You were in a<br>rough patch, going through a divorce and  
>she was in New York.<p>

THE TAPE STOPS. The soundtrack THUMPING.

GHOSTFACE  
>You see, Gale?<p>

Gale looks up and at Dewey, tears flowing down her face. He tries his best to apologize through the tape in his mouth.

GHOSTFACE  
>So with that said, should I TAKE HER OUT?<br>Or should I get rid of your UNFAITHFUL husband?

Gale actually pauses to answer the question. Dewey eyes widen, not able to believe she's not saying something.

GALE  
>No... they don't deserve to die for that.<p>

Gale rests on the side of the wall, facing away from her husband and Judy.

GHOSTFACE  
>Oh, then Chuck? !<p>

GALE  
>No, he's just a kid!<p>

GHOSTFACE  
>Well I don't feel like killing you, Gale,<br>so you have to give me SOMEBODY before I just  
>start KILLING THEM ALL!<p>

GALE  
>I can't do this.<p>

ANGLE ON - -

GHOSTFACE  
>CHUCK GETS IT THAN!<p>

ANGLE ON - -

GALE  
>NO! NO! YOU LEAVE HIM ALONE!<p>

ANGLE ON - -

GHOSTFACE  
>THEN THAT BITCH, JUDY? !<p>

ANGLE ON - -  
>GALE<br>She has a son!

ANGLE ON - -

GHOSTFACE  
>Then Dewey?<p>

ANGLE ON - -  
>GALE<br>(beat)  
>He's gonna be father!<p>

Dewey looks up, eyes widened in surprise and joy.

GALE  
>I'm pregnant! Please don't. Please just<br>let us all live.

GHOSTFACE  
>Now you're just starting to make me feel<br>bad, Gale... but unfortunately, ONE OF THEM  
>MUST GO! And since you can't choose, I WILL!<p>

THE LIGHTS GO OUT. GALE JUMPS TO HER FEET AND LOOKS OUT THE WINDOW! SLICE! CRUNCH! SPLAT!

GALE  
>NOOOOOOOO!<p>

THE LIGHTS COME BACK UP - - Judy's gutted completely open. Her intestines on the floor and her head droops down - - she's dead. Chuck watches in complete terror and tries to scoot away. He's going to start hyperventilating. Gale leans her head on the glass, crying and looking on at her now dead new friend.

GHOSTFACE  
>Are you happy now? Now poor Chewy has no<br>mmomy coming home to him any longer...

Gale lets out a larger cry.

GHOSTFACE  
>... who did you tell you were coming here?<p>

GALE  
>What? Nobody!<p>

GHOSTFACE  
>Then WHY is there car lights coming into the drive way?<p>

GALE  
>I don't know!<p>

GHOSTFACE  
>Oh, I see... it's EILEEN. Gale... you<br>broke the rules... now you must ALL DIE!

GHOSTFACE BURSTS THROUGH THE WINDOW AND LANDS ON TOP OF GALE. SHE KNEES HIM IN THE GROIN but he doesn't move and he raises the KNIFE - -

EILEEN  
>NOOOOOOO!<p>

Gale tries to MOVE OUT OF THE WAY but GHOSTFACE SLICES DOWN, missing her chest and STABBING HER IN THE SHOULDER. HE RAISES THE KNIFE AGAIN. EILEEN TACKLES HIM TO THE FLOOR and tries to wrestle the knife out of his hands. She grabs a shard of glass and raises it to plunge it down in to his chest - - she looks down... the knife is in her stomach. She drops the glass and falls over.

Ghostface slides the knife out of her and slowly gets up. Gale crawling her way to the backyard to get to Dewey and Chuck. Ghostface watches... Dewey cussing at Ghostface through the tape. CHUCK HOPS IN HIS CHAIR, trying to make it bounce. The chair COLLAPSES and Chuck is FREE.

Ghostface runs towards him and Chuck backs up to the pillar. Chuck TACKLES Ghostface, ACCIDENTALLY HITTING DEWEY in the process and backing him up to the edge of the pool ledge... Dewey tries not to move and not to tip over. Ghostface and Chuck continue to wrestle on the ground. Ghostface PUNCHES Chuck in the face and Chuck RETURNS THE FAVOR, DOUBLE OVER.

Ghostface knocks out cold. Chuck sits there victorious. He reaches for the knife - - THE KNIFE PLUNGES IN HIS SHOULDER. Chuck lets out a yell and Ghostface kicks him in the stomach, FLIPPING HIM over and INTO the pool. The side of Chuck's foot SMACKING him in the face and he TIPS OVER, FALLING IN, sinking slowly to the bottom - - still tied and bound.

Chuck tries to get out of the pool - - Ghostface STOMPS on his hands. Chuck swims over to the other side - - ANOTHER STOMP. Ghostface just toying with him... CHUCK SINKS UNDER and SWIMS TO DEWEY. Ghostface walks away and over to Gale, still on the ground and bleeding... Chuck tries to untie his hands, HE GETS ONE HAND OUT.

Chuck gives Dewey a "one minute" signal and returns to the surface to get some air. He looks up... Ghostface is above Gale, READY TO STAB! Chuck jumps out of the pool and CHARGES Ghostface. Ghostface FLINGS THE KNIFE INTO HIS THROAT. He falls to the floor - - dead. SIRENS COME FROM THE DISTANCE.

GHOSTFACE  
>(beat)<br>You live to capitalize once more...

Ghostface jumps up, taking the knife out of Chuck's throat and runs off the property. Gale tries to get up on her good shoulder and crawls over to the pool.

GALE  
>Dewey!<p>

She reaches the ledge - - his eyes are closed, sunk at the bottom of the pool.

GALE  
>NO! Dewey!<p> 


	24. The End: Part 2

*Due to the popular demand of the story, when reviewing, please use the spoiler tag - - *MAJOR SPOILER ALERT* - - to be sensitive to others who have yet to finish. Thank you and enjoy.*

CUT TO:  
>EXT. 261 TURNER LANE - NIGHT<br>Sidney drives up to the estate and parks. She quickly jumps out... a van is parked off to the side where Gale's van once was parked 20 years ago. There's a body on top.

SIDNEY  
>No!<p>

Sidney runs over and checks their pulse. She then lifts the hair out of their face - - it's Nessa. Her throat slit, blood running down the windshield. Sidney tries her best to keep it together. HER PHONE RINGS. Sidney answers.

SIDNEY  
>Where is she?<p>

GHOSTFACE  
>The place where one person you didn't have<br>a chance to save DIED.

Sidney thinks about this for a second... and she begins walking around the side of the house.

INT. STU'S GARAGE - CONTINUOUS  
>Sidney slowly comes around the bend, a boat in the same spot as before... and she sees Niley, her head stuck in the doggy door and a rope wrapped around her arms. The soundtrack thuds. She runs forward.<p>

NILEY  
>Sid, don't!<p>

THE GARAGE DOOR BEGINS TO LIFT. It stops at about a foot. Sidney stops in her tracks.

SIDNEY  
>Oh my God, Niley, are you okay?<p>

NILEY  
>Aside from some internal bleeding... I'm A-Okay.<p>

Sidney's phone rings. She answers.

SIDNEY  
>What do you want?<p>

GHOSTFACE  
>To talk.<p>

SIDNEY  
>We're beyond that!<p>

GHOSTFACE  
>Are we? We can't be friends anymore?<p>

SIDNEY  
>Fuck you!<p>

THE DOOR BEGINS TO RISE EVEN FURTHER. Niley now just on her tippy toess.

GHOSTFACE  
>I HAVE THE POWER HERE, Sid... I can take<br>her out SO EASILY.

SIDNEY  
>(gritting her teeth)<br>What do you want to talk about?

GHOSTFACE  
>Anything. You choose the topic.<p>

SIDNEY  
>God dammit, why are you doing this!<p>

THE DOOR RISES. Niley now a foot off the ground. Sidney takes a step forward and stops, realizing her place.

NILEY  
>PLEASE don't make them anymore angry than<br>he already is!

Sidney looks up - - the garage only has about two or so lifts before it reaches the top.

SIDNEY  
>Okay... music. Let's talk music.<p>

THE DOOR LOWERS. Niley's feet now touching the ground again.

GHOSTFACE  
>Oh, what's your favorite genre?<p>

SIDNEY  
>Alternative, yours?<p>

GHOSTFACE  
>I'm more of a - - techno person.<p>

SIDNEY  
>Really? Techno?<p>

THE DOOR RISES. Niley now a foot off the ground again.

SIDNEY  
>Sorry! Sorry! Techno is awesome!<p>

THE DOOR RISES EVEN HIGHER. Niley looks up, her face now closer to the top of the garage. Sidney can now see Bloodred standing at the controls by the door in the garage.

BLOODRED  
>Never lie - to me - again.<p>

SIDNEY  
>You got it!<p>

NILEY  
>(straining)<br>Oh God, this sucks.

BLOODRED  
>What do you think about... video games?<p>

SIDNEY  
>(beat)<br>I don't play them much... but when I do...  
>(she's starting to realize who this might be)<br>I like RPGs. Or fighting games.

BLOODRED  
>Ah... those are fun.<p>

SIDNEY  
>... RJ, is that you?<p>

THE DOOR RISES. NILEY IS INCHES AWAY FROM THE TOP.

NILEY  
>OKAY! THIS ISN'T COOL!<p>

BLOODRED  
>I don't like being wrongfully identified...<p>

SIDNEY  
>Sorry... sorry...!<p>

BLOODRED  
>Why is it SO HARD for you to just TALK to me?<p>

SIDNEY  
>I'm trying! Maybe if you - - took off the<br>mask and lost the voice decoder, it'd be a  
>bit different!<p>

BLOODRED  
>Didn't your MOTHER ever teach you to be nice<br>to everyone no matter how they LOOK or SPOKE?

SIDNEY  
>I don't know if you know but my mother didn't<br>exactly win any awards for "mother of the year,"  
>even when she was alive!<p>

BLOODRED  
>I almost clicked the button on that one...<br>isn't it funny, Sid? Twenty years later, you  
>get the chance to relive a moment you never<br>got to see for yourself and you can't EVEN  
>SAVE THEM THIS TIME, EITHER.<p>

SIDNEY  
>(pleading)<br>I'm trying... I'm trying.

BLOODRED  
>This is just... so sad. I feel no sympathy...<br>I wish I did... but all I want to see... is  
>you BEG.<p>

BLOODRED PUSHES THE BUTTON, THE DOOR RISES. Sidney CHARGES FOR THE DOOR. Bloodred TAKES OUT HIS BLADE AND RUNS TOWARDS HER. She doesn't even give a FUCK and continues on! She jumps up and GRABS Niley's top half, nearly lifting up herself with the rising door. Niley winces and screams - - SID PULLS HER ALL THE WAY OUT - - and they crash to the floor JUST IN THE NICK OF TIME.

Bloodred runs over and STABS towards Sidney. Sidney KICKS him in the stomach, crouching them down and then KICKS them in the face, sending them flying back.

NILEY  
>Get me out, get me out!<p>

Sidney tries to pull Niley along and untie her at the same time. Bloodred RISES and charges them both. Sidney has her hands full - - BLOODRED STABS NILEY IN THE BACK, STRAIGHT THROUGH THE SPINE. They all fall over, Sidney trying to fight back but Niley's body is on top of her.

Bloodred STABS DOWN INTO NILEY'S BACK, OVER AND OVER AGAIN. Sidney tries to maneuver her out of the way - - but all she can do - - is watch. Bloodred grabs Niley by the hair, her now bleeding from the mouth and TOSSES her over STRAIGHT ONTO HER FACE.

Sidney crawls backward and jumps to her feet. Bloodred JUMPS towards her and Sid grabs an oar, THWACKING IT across his face! He falls to the ground. Sidney doesn't mess around and CONTINUE SLAMMING the oar into Bloodred's side, OVER AND OVER!

NILEY  
>Sidney!<p>

Sidney looks back, Niley still tied and bleeding. Sidney throws the oar down and runs over to Niley, trying to untie her.

NILEY  
>I can't feel my legs!<p>

SIDNEY  
>You're gonna be fine, okay?<p>

Niley is untied - - but she can't move.

NILEY  
>Sidney, look out!<p>

Sidney turns around - - THE OAR SMACKS HER ACROSS THE HEAD. Bloodred looks down at Niley, a bloody mess - - and defenesless. Bloodred KICKS her over onto her back so she can face him.

NILEY  
>Fuck you, you stupid ass clown! You're<br>not even scary! And you're wearing a stupid  
>bed sheet, you cheap fuck! You couldn't<br>even get black, huh! You had to go with  
>white! That's borderline racist!<p>

Bloodred tilts their head.

NILEY  
>Kill me! Do it! I'll fucking come back!<br>You'll see, I'll COME BACK AND I'LL HAUNT  
>THE SHIT OUT OF YOU! I'll make your life<br>Hell! You ain't got nothing me, bitch! DO  
>IT! I'M IMMORTAL! What are you, huh? !<br>What are you? You're not like me, you  
>can't even be half of what I was! Killing<br>me is just the beginning, just you watch!  
>You wait and see, you're gonna burn in<br>Hell! You just wait and see!

Bloodred kneels down and looks Niley up. SHE SPITS BLOOD ONTO THEIR MASK.

NILEY  
>FUCK YOU!<p>

BLOODRED PLUNGES THE KNIFE INTO HER STOMACH. She looks down and looks back at her attacker. He TWISTS THE KNIFE INSIDE OF HER. She tries to contain the pain... but her head drops... she's gone. Bloodred then grabs Sidney's feet and begins DRAGGING HER into the garage.

INT. STU'S KITCHEN - MOMENTS LATER  
>Sidney sits on the floor, leaning against the cupboards. She starts to come to... BLOOD DRENCHES ALL OVER HER HEAD. SHE WAKES UP and immediately STANDS UP. She looks forward - - Bloodred stands before her, a bucket once full of blood in their hands. Bloodred sets the bucket on the table and Sidney JUMPS FORWARD. Bloodred pulls a gun and points it directly to her head.<p>

BLOODRED  
>Not so fast.<p>

SIDNEY  
>Where's Niley?<p>

BLOODRED  
>SHE'S GONE. You couldn't save her!<p>

Sidney tries to move forward but SLIPS in the blood and SMACKS her head against the cupboard behind her. Bloodred STOMPS on her chest, WEAKENING HER.

BLOODRED  
>NOW GET UP AND FACE ME!<p>

Sidney slowly rises.

SIDNEY  
>Who are you?<p>

BLOODRED  
>Isn't it obvious, Sidney? Think about it...<br>who so far is alive... and who's dead? Who  
>have you heard from recently and who have<br>you not? Who was supposed to meet you at  
>the hospital but never came? ! Who throughout<br>this entire ordeal never once got a single  
>phone call or even a tiny threat? Someone, at<br>the time of every murder, couldn't be accounted  
>for! Someone who has gone by unscathed so far!<br>SOMEONE who LOVES horror movies and has become  
>twisted by actually LIVING one because YOU entered<br>their life! SOMEONE WHO COULD REALLY USE THE  
>PUBLICITY FOR THEIR NEW MOVIE BEING RELEASED<br>THIS FALL!

BLOODRED UNMASKS THEIRSELF, BLONDE HAIR ALREADY POKING OUT THE BOTTOM OF THE MASK -

* * *

><hr>  
><hr>  
><hr>  
><hr>  
><hr>  
><hr>  
><hr>  
><hr>

* * *

><p>It's Murphy. She giggles.<p>

MURPHY  
>I'm sorry, I couldn't help myself but you<br>should've seen the look on your face. You  
>were all like, "that bitch, Kirby!" And<br>plus it was getting hot in that fucking thing - -  
>(throws the mask to the side)<br>- - so I had to do my reveal SOME HOW.  
>(beat)<br>Oh... hello Sidney. However, there are  
>some other factors from that night twenty<br>years ago that I'd like to stay true to so - -  
>(walks over to the closet)<br>- - here's me trying to pay homage.

She opens the door and RJ falls out, tied and with tape across his face. The soundtrack thumps.

MURPHY  
>My killer for this STAB H20. The boyfriend<br>of Niley Krinkey. And then his "boyfriend"  
>Morton Creed has already been caught. So<br>that was made easy.

SIDNEY  
>You're insane, you crazy bitch.<p>

MURPHY  
>(points the gun closer)<br>HEY NOW, NO NAME CALLING. I'm being rather  
>generous in this situation. I haven't<br>stabbed you in the shoulder or shot you  
>in the knee or anything! You're just<br>covered in blood, no big deal!  
>(gestures to her white sheet, completely blood red)<br>I've been covered in blood all day! No complaints!

Murphy RIPS the tape off of RJ's mouth.

MURPHY  
>Say hello, Randy Jr.!<br>(waits and KICKS HIM in the ribs)  
>I said, say hello!<p>

RJ  
>HI.<p>

SIDNEY  
>GET ON WITH IT, WILL YA!<p>

MURPHY  
>What? My M.O.? Listen closely babydoll,<br>because this is the last M.O. you'll ever hear.  
>You ready for it, Sid? Or have you painted<br>the picture yet?

Sid remains expressionless. Murphy starts to throw a tempur tantrum.

MURPHY  
>C'mon, EVEN in this moment, right now, you<br>still can't remember, CAN YOU?  
>(waits and then sighs)<br>Twenty years is how long I've been waiting  
>for this moment, Sid. I know, it's pathetic!<br>But that was how long ago it took for you  
>to finally get back to where I needed you...<br>and it's how long ago, you - took - him  
>from me.<p>

SIDNEY  
>Billy?<p>

MURPHY  
>Oh great Scott, you're not a fuckin' idiot<br>afterall! You got it!  
>(beat)<br>He was mine... I had him in the bag... but  
>then you came along with all your insecurities<br>and your slutty mother issues and your stupid  
>virginity and next thing you know, he turns<br>into a fuckin' psycho! Carves up this street  
>and the next, because of you! Because - of - YOU.<br>Now, I had my hopes up, Sid, that even though  
>he was with you, he'd realize what he could<br>have with me... until that is, you killed him.  
>But you know, I wasn't ever exactly sure of that.<br>You didn't seem like the type who could just  
>SHOOT A PERSON IN THE HEAD. And his death was<br>widely rumored since he was cremated so quickly.  
>It was almost like Tupac all over again; is he<br>gonna rise back to the dead in 7 years or not - -  
>Kullamanati theories - - the works!<p>

SIDNEY  
>So you went to Woodsboro high?<p>

MURPHY  
>(sings)<br>Of course I did, SID!  
>(beat)<br>Hell, I was HERE at Stu's party that night but  
>you didn't even notice me, now did you?<br>(beat)  
>And THEN, OH and THEN, if killing the man of<br>my dreams wasn't enough... you gotta take  
>all the spotlight at Windsor. You knew I<br>wanted that lead role... but instead, I got  
>thrown into the background with the chorus line!<p>

SIDNEY  
>Not my fault you're a shitty actress.<p>

MURPHY  
>EASY NOW.<br>(beat)  
>And on top of that, you REJECT my sorority<br>offer? Oh, FUCK YOU, BITCH. That's three  
>strikes headed in the right direction to get<br>a knife in your throat!

SIDNEY  
>That was over 18 years ago, you couldn't<br>possibly have that pent up rage!

MURPHY  
>I can't? Do you see a wedding ring on my<br>finger, Sidney? I could never live Windsor  
>down... always being thrown behind the spotlight.<br>And I could never find anyone who lived up to  
>Billy's - - standards. So I waited... and<br>of course, another massacre occurs and I figure,  
>"oh, they'll get that bitch this time!" But<br>NO! And then you fall of the grid, REAL SMART,  
>because I was THIS CLOSE to killing you back than!<br>(laughs maniacally)  
>And then Roman lured you... smart idea... but<br>he failed too. Off the grid... once again...  
>but then you release a book... OUT OF DARKNESS...<br>bullshit since I could never find you, hehe.  
>And then you come out in plain sight... my<br>chance once more... but before I could get  
>there, your stupid cousin fucked that one up<br>too, didn't she? I was rooting for the girl...  
>and let's not even get into 4 years with<br>Joseph, that was just - - silly. I don't know  
>what he was even THINKING with the radio idea...<br>but it did fuel interest in what I created so  
>long ago... so I took my time... and I assembled<br>a team... and waited for our moment. That's  
>right, Sidney... I created the Ghostface Society.<br>A little troupe that would live on my baby's  
>mission to killing YOU.<p>

The soundtrack thuds.

SIDNEY  
>I'm so sick of your shit.<p>

MURPHY  
>Oh wait, it gets better! You wanna know<br>what the CUTE thing is? I actually thought  
>he was still alive... that maybe he knew<br>about what I tried to create and maybe he  
>joined... blanketed behind the mask just<br>SMILING AT ME... as if he knew that I created  
>something he could be proud of. Fuck, I<br>even let him take over... we went through  
>great lengths even to just bust him out of<br>prison once I got the word from your - -  
>father in law - - that one of the group members<br>was in prison.

SIDNEY  
>What are you talking about?<p>

Sidney looks off to the side really quick - - she sees a trail of blood leading to the basement. She looks back at Murphy so it goes by unnoticable. RJ catches it though and looks for himself.

MURPHY  
>Mark is dead, your dad runs the underground<br>site, blah, blah, blah but now back to me.  
>But then it turned out... that mother fucker<br>wasn't what he said he was... so I killed him too.  
>Killing just got so fun once I started with<br>Allison that I thought, "fuck it, why not"  
>and I went a little knife happy with anyone<br>who was SLIGHTLY annoying me at the same time.  
>It was quite the spree on sorority row, Sid...<br>you should've been there. Nessa, that bitch  
>Lois who I've been putting up with for God<br>knows how long and I convinced quite easily  
>that I got hung out my window, I mean, seriously,<br>hasn't she ever heard of a harness? And then  
>half the dumb frat fucks who pass through that<br>house... but now... it's time to kill the one  
>person who started this entire snowball effect<br>in the first place...

SIDNEY  
>Really, Murphy, that's the best you can come up with!<p>

MURPHY  
>Sidney, when will you learn, that SOME people<br>are just FUCKING CRAZY, huh? It doesn't  
>even MAKE SENSE how crazy some people are!<br>It's like those circular flat things they stick in  
>the middle of a pizza - - it's a mystery!<p>

RJ  
>Actually, they put those there so the box<br>doesn't smash the pizza.

MURPHY  
>Really?<p>

RJ  
>Yeah.<p>

MURPHY  
>Wow, I didn't know that. You learn something<br>new everyday.

MURPHY SHOOTS RJ IN THE KNEE. He screams out in pain.

MURPHY  
>But when I ask you to talk, you speak.<p>

SIDNEY  
>Leave him alone!<p>

MURPHY  
>Whoa, whoa, no! I'm gonna kill him but<br>after I kill you. Forensics comes up with  
>all sorts of amazing shit these days. Time<br>of deaths, angles bullets were aimed - -  
>it's complicated. SO FROM THIS ANGLE - -<br>(points the gun directly at her skull)  
>I got you pretty good...<p>

INT. BASEMENT - CONTINUOUS  
>NILEY drags her self along the floor, bleeding everywhere. She carries a ROCK with her and makes her way to the HEATER. She PUNCTURES A HOLE IN IT WITH THE ROCK, FLUIDS SPILLING OUT. She backs up and a few feet and begins SLAMMING THE ROCK AGAINST THE GROUND.<p>

WE CUT BACK AND FORTH BETWEEN THE KITCHEN AND THE BASEMENT.

MURPHY  
>And I can do...<p>

ANGLE ON - -

NILEY  
>(slamming the rock)<br>C'mon! C'MON!

ANGLE ON - -

MURPHY  
>What nobody else could do...<p>

ANGLE ON - -

NILEY  
>You son of a bitch!<p>

ANGLE ON - -

MURPHY

And kill you...

ANGLE ON - -  
>Niley raises the rock higher than the last time.<p>

NILEY  
>You're so hot right now...<p>

SHE SLAMS IT.

ANGLE ON - -

MURPHY  
>Once...<p>

ANGLE ON - -

NILEY  
>(SLAMS THE ROCK)<br>You're smoking!

ANGLE ON - -

MURPHY  
>And for all.<p>

ANGLE ON - -

NILEY  
>(SLAMS THE ROCK)<br>You're on FIRE!

ANGLE ON - -

MURPHY  
>GOODBYE SIDNEY.<p>

ANGLE ON - -  
>Niley raises it, and uses ALL OF HER MIGHT.<p>

NILEY  
>MOTHER FUCKER!<p>

SHE SLAMS IT DOWN - - IT SPARKS.

ANGLE ON - -  
>Murphy raises the gun, SQUEEZING THE TRIGGER. THE GROUND UNDERNEATH HER EXPLODES, A FLAME SHOOTING HER UP INTO THE AIR - - BLOWING HER UP INTO A DOZEN PIECES! The explosion BLOWS Sidney back into the sink, RJ INTO ANOTHER ROOM.<p>

The ENTIRE KITCHEN IS IN FLAMES. Sidney comes to - - THE GROUND BREAKING WAY. She jumps out of the kitchen and grabs RJ, untying - - THE FLAME BUILDING ABOVE THEM.

SIDNEY  
>C'mon!<p>

Sidney throws RJ over her shoulder and they head to the door. The flame has now ENGULFED the entire house. She drags him along and they reach the front door - - ANOTHER EXPLOSION BLOWS BEHIND THEM and the staircase CRASHES TO THE FLOOR.

EXT. 261 TURNER LANE - CONTINUOUS  
>They run out of the house, Sidney dragging him along. RJ stops and looks at the house.<p>

RJ  
>NILEY!<p>

SIDNEY  
>C'mon, there's nothing we can do!<p>

RJ  
>I need to save her!<p>

SIDNEY  
>RJ! Listen to me, you can't! She's gone!<br>(she grabs his face)  
>She's gone!<p>

He begins to sob, tears flowing down his face and he rests his head on her shoulder.

RJ  
>Oh my God, Niley...<p>

SIDNEY  
>It'll be okay... it'll be okay.<p>

Sidney looks on at the house - - BURNING DOWN TO THE GROUND. A CAR COMES UP THE ROAD. She looks over - - MARK SLAMS ON THE BRAKES and jumps out of the car, running over to them.

MARK  
>What happened? !<p>

SIDNEY  
>It was Murphy... Niley's dead. RJ's innocent.<p>

MARK  
>Oh my God... okay, c'mon.<p>

Mark grabs his wife and pulls her in, kissing her.

MARK  
>I'm so glad you're okay! I was so worried!<p>

SIDNEY  
>You're bleeding!<p>

MARK  
>No, no... that's a whole other story...<br>c'mon.

Mark takes her hand and he takes them to his car, letting them in. WE CRANE UP, WATCHING THE HOUSE IN FLAMES IN FRONT OF THE HILL VALLEY. We fade out...


	25. The End: Part 3: Extended Version

FADE IN:  
>INT. HOSPITAL ROOM - NIGHT<br>"Life and Death" by Michael Giacchino (youtube . com/watch?v=LZ9lpOuukVs). Everything is mute and in slow motion.

(0:00) We see Dewey in a hospital bed, the doctors working on him - - he's not responding.  
>(0:10) Gale is on another bed next to him, trying to reach out to her husband's limp hand as the doctor's try to take care of her shoulder. (0:15)"DEWEY!" we can hardly make out through the madness.<br>(0:20) They continue CPR - - PUSHING IN HIS CHEST - - breathing into his mouth - - the same process over and over. It's not working. The doctors become a bit more worrisome. Dewey's doctor looks down at Dewey... and then over to Gale... failure in his eyes.  
>(0:45) The doctor looks up at the clock. Gale freezes... she can't hear him say it. Please don't say it. Tears already form in her eyes. "Time of death - -"<br>(0:55) GALE SCREAMS and JUMPS OUT OF THE BED. The doctors push her back as she continues to put up a fight to get to her husband laying on the bed. They subdue her back to the bed... she looks on, unable to comprehend this moment...  
>(1:26) The music stops and all goes to regular motion, the sound in the room coming back to life. Gale looks on at her husband... gone.<p>

SHE JUMPS FORWARD ONE MORE TIME, THIS TIME PUSHING HER WAY THROUGH. She reaches Dewey's bed side and begins POUNDING ON HIS CHEST. The nurses behind her try to push her back - - but the main doctor in the room shakes his head at them... they step away, letting Gale take in the moment.

GALE  
>You are my husband and I LOVE YOU, you're<br>not gonna die on me like this!

DEWEY'S DOCTOR  
>Mrs. Riley - -<p>

GALE  
>DON'T YOU DIE ON ME, DEWEY!<p>

DEWEY'S DOCTOR  
>Your husband is gone.<p>

GALE  
>NO, he is not! YOU HAVE TO KEEP TRYING!<p>

DEWEY'S DOCTOR  
>He was under the water for quite some time - -<p>

SHE KEEPS POUNDING HIS CHEST.

DEWEY'S DOCTOR  
>His brain lost a lot of oxygen. He came to<br>once or twice - -

THUMP!

GALE  
>NO!<p>

DEWEY'S DOCTOR  
>He was brain dead... but his heart then shut<br>down too... there's nothing we can do.

Gale looks on at Dewey... she comes to some sort of acceptance, tears still running down her face. Sherests her head on his chest, crying. She's given up.

GALE  
>You're going to be a father... please... please!<p>

DEWEY'S DOCTOR  
>I'm sorry...<p>

GALE  
>All the times you've never given up on me,<br>please don't give up on me now!

Gale rests there for a moment longer... she rises up and SLAMS on his chest again - - DEWEY GASPS FOR AIR. THE DOCTOR'S RUSH FORWARD. GALE SHOCKED, not knowing what to do. She laughs and stands back, letting the doctors do their thing.

GALE  
>That's my husband! He's gonna be a father!<p>

She watches him, the doctors checking his vitals. They seem steady. Tears of joy come from her eyes.

GALE  
>... that's my husband...<p>

DEWEY  
>(weak)<br>Gale?

GALE  
>Dewey, everything's going to be fine!<p>

DEWEY  
>WheRe aM IiiiI?<p>

GALE  
>I love you! Just try to relax and know that<br>I love you so much.

DEWEY  
>I LoooVeeE yoU too.<p>

CUT TO:  
>INT. UNDISCLOSED LOCATION - NIGHT<br>Roy's head is down, eyes closed... HE SUDDENLY AWAKENS. He looks around... the room is dark. He can feel something behind him... KIRBY IS TIED TO HIM, also knocked out.

ROY  
>Kirby! Kirbiline! Wake up!<p>

Kirby's head rises, blood gushing from it.

KIRBY  
>(groggy)<br>What's going on?

ROY  
>I don't know... we were driving and then...<p>

SARAH  
>And then we crashed...<p>

Roy looks across the room... Sarah is tied to a pole, also bloodied.

ROY  
>Sarah, is that you?<p>

SARAH  
>Yeah... it's me.<p>

ROY  
>Are you okay?<p>

SARAH  
>I'm fine, I just got a few bruises...<p>

Roy looks around... he notices the sound of WATER RUSHING.

ROY  
>Where are we?<p>

SARAH  
>Well... either I'm losing my fucking mind<br>and hallucinating... or we're back in time  
>with dinosaurs.<p>

THE LIGHTS SHINE ON, KIRBY AWAKES FULLY NOW. Roy looks around - - TWO LARGE T-REXS SURROUND THEM.

ROY  
>WHOA! WHOA! WHAT THE FU - -<p>

GHOSTFACE  
>RELAX, ROY...<p>

Roy stops and looks up to a platform above them. GHOSTFACE comes down a set of stairs.

GHOSTFACE  
>They're just audio-animatronics.<p>

ROY  
>What is this?<p>

GHOSTFACE  
>You don't recognize it? It's your favorite ride<br>at SUNRISE STUDIOS THEME PARK!

His voice echos through the building.

ROY  
>This is Prehistroic Scream?<p>

GHOSTFACE  
>Ah, we're learning.<p>

Roy now takes a better look - - they're on the side on a set piece of a "mock control station gone haywire." Rushing water where the boat vehicles pass is feet away. A larger T-Rex directly behind the platform Ghostface came down on - - it's hidden in the darkness and only comes out for a final scare on the ride that breaks through the platform and bites down towards the oncoming boats. And just before those boats can be dino food, the track for the ride plummets downward just in the nick of time; a 90 foot rushing waterfall that leads outside of the building for it's grand finale.

KIRBY  
>How did we get here?<p>

SARAH  
>He owns this place.<p>

GHOSTFACE  
>SPOILER ALERT, SARAH. Don't give away the surprise!<p>

ROY  
>... Benjamin Stills?<p>

GHOSTFACE  
>(slowly turns their head)<br>... to you... sure.

Ghostface walks back up the stairs and up the platform.

ROY  
>(beat; totally confused)<br>WHAT THE FUCK IS GOING ON?

CUT TO:  
>INT. HOSPITAL - NIGHT<br>RJ is getting treated on his knee by a surgeon, fixing up the worse part of his knee with a bullet hole in it. Gale is outside the room, talking to Sidney and Mark.

GALE  
>Oh my God... poor Niley.<p>

SIDNEY  
>And Roy and Kirby are still missing.<p>

MARK  
>We'll find them later.<p>

SIDNEY  
>Mark, I'm not gonna stop until we find them.<p>

MARK  
>That's not your job. I put out a BP for<br>them, if we don't hear anything by the  
>morning - -<p>

SIDNEY  
>It'll be too late by than!<p>

GALE  
>She's right, Mark. This guy is just toying<br>with us now. He made a game show out of who  
>he should gut next. And Judy lost that game.<br>I highly doubt he'll show Roy or Kirby any sympathy.  
>It's amazing that Dewey and I... and Eileen<br>made it out alive.

SIDNEY  
>How's she doing, by the way?<p>

GALE  
>Well you know how stab wounds to the stomach are.<p>

MARK  
>When can we see Dewey?<p>

GALE  
>Doctors are making him rest for now. Maybe<br>in the morning.

Sidney's phone rings. She looks at it - - Unknown Caller. She looks at Mark... you can tell in his eyes he doesn't want her to answer it.

SIDNEY  
>Moment of truth...<p>

MARK  
>(beat)<br>Answer it...

SIDNEY  
>(answers)<br>Hello?

GHOSTFACE  
>Sunrise Studio Theme Park. 20 minutes.<p>

SIDNEY  
>Do you have Kirby and Roy?<p>

GHOSTFACE  
>Wouldn't that be suggested at this point?<p>

Sidney looks up at Mark and nods. Mark puts his head down, sighing.

GHOSTFACE  
>Bring Mark, too...<p>

Ghostface hangs up. Sid looks at Mark...

SIDNEY  
>He wants you, too.<p>

MARK  
>Alright... but only if we do this my way.<p>

CUT TO:  
>INT. PARKING LOT - NIGHT<br>A SWAT TEAM POURS OUT OF A TRUCK AND LINES UP, Mark and Sidney standing before them.

MARK  
>The person you are about to face is highly<br>dangerous. Chances are, you could possibly  
>be injured in this operation or worse, killed.<br>The team they were incorporated with has  
>racked up a body count a dozen two times<br>over. They've killed cops, college students,  
>you name it - - they are stopping at nothing.<br>We have little over 10 minutes to get to the  
>theme park. Once you are there, you will<br>stay behind as far as possible. More than  
>likely, the entire place is rigged with cameras<br>so they'll know you're coming. Wait until  
>I give the signal that they are down AND<br>THEN swoop in. We have racked up an assorted  
>amount of intelligence on who this man might<br>be. Yes, the rumors are true, my father was  
>apart of the Ghostface Society and due to that<br>fact, we have been able to access their files  
>and hundreds of other pieces of evidence,<br>including the ICP adresses of the other members.  
>Once we have taken the suspect down, it is<br>shoot to kill. Let's go.

CUT TO:  
>EXT. SUNRISE STUDIOS THEME PARK ENTRANCE - NIGHT<br>Sidney and Mark make their way up the entrance, wary of what's to come. Mark looks around for anything suspicious. The main gate is open - - welcoming them in. They make their way through the theme park and go towards the back to the lower lot.

EXT. LOWER LOT - CONTINUOUS  
>Sidney and Mark, hand in hand, make their way off the escalators and see the entrance to Prehistoric Scream. They enter the line. There's arrows pointed across the queue leading to the boat the ride takes place on. There's a note - - "get in." Mark goes first and Sidney goes next and pull the lap bars down. THE RIDE STARTS, pulling them up lift.<p>

INT. PREHISTROIC SCREAM - CONTINUOUS  
>The ride continues - - the fog laid in thick. A FAKE CORPSE hangs over head with a sign above it - - "Maureen Prescott." Another corpse - - "Steven Orth." Another corpose - - "Casey Becker." They continue their way through and enter a HUGE ROOM.<p>

CORPSES ALIGN THE WALLS AND HANG FROM THE CEILINGS, SITTING BY ON THE SIDE OF THE RIDE, SOME EVEN FLOATING IN THE WATER. TATUM RILEY. BILLY LOOMIS. STU MACHER. CASEY COOPER. MAUREEN EVANS. RANDY MEEKS. MARTHA MEEKS. JENNIFER JOLIE. COTTON WEARY. OLIVIA MORRIS. JOSEPH MORRIS. TYSON FOX. ROMAN BRIDGER. SARAH DARLING. TESS MARTIN. MITCHELL DONNER. JOHN MILTON and more, EVERYONE dead from each massacre in no specific order.

They go up another lift - - the music tensing up. One of Randy's video tapes can be seen playing on a security monitor off to the side. THE BOAT STOPS. Mark and Sidney look at each other... THE INTERCOM SWITCHES ON.

GHOSTFACE  
>Attention riders, your ride has been disrupted<br>by unseen circumstances. You'll have disboard  
>for an emergency exit located up the stairs.<br>Thank you and enjoy your stay at Sunrise Studios.

The LAP BAR PLOPS OPEN. They both get out and make their way up the emergency stairs on the side. They make their way to the next room - - they can see Sarah tied to a pole - - they walk even further in - - ROY and KIRBY are SUSPENDED in the air, DANGLING above the 90 foot drop the ride has for it's grand finale.

SIDNEY  
>Oh my God.<p>

They continue further... Ghostface slowly begins walking down the steps down the platform.

GHOSTFACE  
>WELCOME... did you enjoy the ride down memory lane?<p>

MARK  
>It was insightful.<p>

GHOSTFACE  
>I'm glad you thought so, Mark. Take a seat.<p>

They slowly make their way over to Sarah and next to her is two seats. They sit down. Roy and Kirby both seem exhausted and look down at them. Ghostface looks down at Mark's ankle - - he has a gun holstered.

GHOSTFACE  
>GIVE THAT TO ME.<p>

Mark abides and hands over the gun.

ROY  
>This is some bullshit!<p>

GHOSTFACE  
>Shut up!<p>

SARAH  
>Just tell them who you are and get it over with.<p>

GHOSTFACE  
>In time.<p>

SIDNEY  
>Benjamin Stills. Theme park director. Kinda obvious.<p>

GHOSTFACE  
>No doubt about that... but this isn't about<br>the surprise anymore. It's about what  
>makes a killer TICK. A man can go by many<br>names. For years, he can change it even but  
>some things... some things are forever, Sidney.<br>To some I may be George Redman or Tony  
>Monroe... to most, I am Benjamin Stills...<br>but to you, Sidney... you can call me - -

HE UNMASKS HIMSELF.

BENJAMIN  
>- - Father.<p>

The soundtrack thuds.

SIDNEY  
>My father's dead. He died 7 years ago of a<br>heart attack. He's buried in Woodsboro cemetary.

BENJAMIN  
>The father that raised you and put a roof over<br>your head, SURE. But what about the father  
>that gave you LIFE?<p>

SIDNEY  
>No.<p>

BENJAMIN  
>How could you be so sure, Sidney? After<br>all, this all links back, ONCE AGAIN, to  
>your mother...<p>

SIDNEY  
>My mother might've done a lot of things but<br>having me with my REAL father is one of them.

BENJAMIN  
>You have no idea, Sidney! It's pathetic.<br>What did Neil, tell you, hm? Surely he  
>didn't tell you that they were happy because<br>I assure you, they weren't. Your mother got  
>a little more star hungry in the eighties<br>after the seventies fell through. And I  
>was there for her... I told her I'd write<br>her a part... we shipped that script across  
>town with her attached as the leading role<br>but nobody would take it! So she left me...  
>and took YOU with her... leaving me only<br>one thing to remind me of her, a son by the  
>name of Roman. Maybe you two've met...<p>

SIDNEY  
>You're crazy, that's not possible.<p>

BENJAMIN  
>Wake up! It's all possible. But I'm not<br>done with the surprises...  
>(looks up at Kirby)<br>... because it seems you have a sister, too.

The soundtrack thumps.

KIRBY  
>What?<p>

BENJAMIN  
>Now, I won't brag or anything but... let's<br>just say I got all the goods. And Beverly,  
>well, her and Maureen had more in common<br>than you think. And once again... another  
>child I wanted... TAKEN FROM ME. And then<br>I met someone... someone who seemed devoted,  
>someone who looked like they were gonna<br>actually give me a shot instead of RUNNING  
>away to suburbia and get married, leaving<br>me behind and taking my kid with them to  
>be raised by someone else. Judy was a nice<br>girl... and as history shows... she was  
>pregnant with my child, too. Ha, back in<br>those days, if you were a struggling ANYTHING  
>in Hollywood, you were gonna have to screw me.<br>Now, most of those girls, nothing became of  
>them. Some, sure, they made it. But Maureen<br>Prescott, Beverly Reed and Judy Hicks... they  
>all became FAMOUS. Not in the way<br>they wanted... but hey... I did my job. Right?

SIDNEY  
>You're fucking sick.<p>

BENJAMIN  
>Don't talk to your father that way!<p>

SIDNEY  
>You're not my father!<p>

BENJAMIN  
>This isn't the first time I tried telling<br>you, Sidney! All those letters I sent! To  
>get no return from you? It seems like you<br>gotta literally put on a fucking GHOSTFACE  
>mask and start KILLING people to get your<br>attention anymore.  
>(beat)<br>So I found my in... and I played that little  
>"society" like a flute that they were running<br>when really, I was the one calling all the  
>shots through some really good reverse psychology.<br>The other guys, they had no way of killing  
>you. You're too good for that... hell, I<br>don't wanna kill you, Sid. I just want you  
>to accept and join me!<p>

SIDNEY  
>Maybe if you didn't kill people, sure!<p>

BENJAMIN  
>Well... when you're obsessive like me...<br>and people like JUDY have children with  
>other people but TAKE MINE AWAY FROM THIS WORLD,<br>you get a little - - psycho, no? So I thought,  
>what better way to show to you the value of<br>family by picking off some of the ones you  
>know best? Your personal demons and the<br>weight on your shoulders... and I admired  
>your life from afar, Sid... those Stab movies.<br>BRILLIANT. The banning of Ghostface costumes  
>became a bit of a worrysome problem but<br>once I became theme park director, all  
>the answers fell into place. And now...<br>I have you... and my other daughter's  
>attention... don't I?<p>

KIRBY  
>You can go to hell! You'll never be my father.<br>I may not have known the one who raised me  
>but you'll never be anything to me other than<br>a piece of shit!

BENJAMIN  
>That hurts, Kirby! First, no invite to your<br>premiere or your wedding - - that goes to you  
>too, Sid and THEN you don't accept me? Well<br>you know what? I don't accept your fiance!

ROY  
>That hurts.<p>

Benjamin walks up the steps and comes to the same level as Kirby and Roy. He puts the gun down on the control panel.

BENJAMIN  
>This is what happens when you don't accept me,<br>my dear!

Benjamin PULLS A LEVER, MOVING KIRBY AND ROY OVER TO THE PLATFORM Benjamin is standing on.

ROY  
>Hey, what are you doing?<p>

BENJAMIN  
>I'm sorry but you can't join the family.<p>

BENJAMIN STABS ROY IN THE STOMACH.

KIRBY  
>NOOOO! YOU BASTARD!<p>

Benjamin than unties Roy, leaving Kirby still connected to the rope and PUSHES THEM AWAY FROM THE PLATFORM. Roy starts to fall, KIRBY GRABS ONTO HIS HAND. Roy dangles over the drop... Benjamin watching with satisfaction.

SIDNEY  
>Oh my God...<p>

MARK  
>(whispers)<br>I'm calling them in...

Benjamin begins walking back down the platform.

BENJAMIN  
>(looks at Sarah)<br>And her... psh, she ain't shit to me, so - -

BENJAMIN STABS SARAH IN THE STOMACH. MARK JUMPS UP AND GRABS BENJAMIN. BENJAMIN KNOCKS HIM DOWN TO THE GROUND and POINTS THE KNIFE AT HIM. Sidney rises.

BENJAMIN  
>No, no, no! You stay right there! This<br>is our little family reunion and I want  
>it to go perfectly, you got that?<p>

Sidney looks on at Sarah behind Benjamin, bleeding out.

SIDNEY  
>... I hate you.<p>

BENJAMIN  
>C'mon... daddy loves YOU.<p>

SIDNEY  
>(looking down at the mask)<br>You've been in my life for so long... I  
>can't even a remember a time without you<br>in it anymore... I don't even know if I  
>can live a life without you...<p>

BENJAMIN  
>What?<p>

SIDNEY  
>(looks back at Benjamin)<br>You were right... you would have to put on  
>a Ghostface mask to get my attention...<br>because that actually means something to me...  
>you... you're nothing... you're just a piece<br>of shit! A nothing. Another little fucker  
>in a mask trying to get attention. To resolve<br>their abandonment issues. To gain fame.  
>To get close to me... you're just like the<br>rest... you're nothing special.

BENJAMIN  
>Careful, I brought you into this world and<br>I can take you out!

SIDNEY  
>Then what the fuck are you waiting for?<p>

BENJAMIN LUNGES TOWARDS SIDNEY and Mark KICKS Benjamin in the leg. He falls to the floor and Mark jumps on top of him, PUTTING HIM IN A HEADLOCK AND THEY BOTH TUMBLE BACK IN THE WATER. The rapids RUSH FORWARD, Sidney running to Sarah's aid.

Roy HANGS ONTO KIRBY'S HAND while still trying to cover his wound. He looks up at Kirby, trying her best to hang on. THE ROPE HOLDING THEM BEGINS TO SNAP.

ROY  
>I'm sorry, Kirby.<p>

KIRBY  
>DON'T YOU LET GO!<p>

Sarah gets untied and falls to the floor, woozy. MARK AND BENJAMIN CONTINUE TRADING PUNCHES IN THE WATER.

SARAH  
>Their rope is breaking, go help them!<p>

Sidney looks up and RUNS UP THE STAIRS. She gets to the main controls - - there's a billion buttons.

SIDNEY  
>I don't know which one to push!<p>

KIRBY  
>PUSH ANYTHING!<p>

Roy begins to slip... the rope begins to tear more.

ROY  
>I need to let go, baby.<p>

KIRBY  
>I swear to God, you better not let go!<p>

Sidney presses the biggest button she sees - - THE RIDE STARTS OPERATING AGAIN. The boat makes it's way up the lift, Mark gets HEADBUTTED and falls back into the water. Benjamin sees Sidney up the stairs and he tries to climb out. MARK GRABS HIM AND PULLS HIM BACK UP.

The boat comes straight for them. Mark throws Benjamin up and DUCKS DOWN in the water, the boat STRIKES Benjamin in the head and then forcing him down below, blood seeping out of his head. They continue fight underwater as the boat glides over them. The boat now makes its way up the tiny lift just before the drop.

ROY  
>Look, I'm gonna jump in that boat so I'm<br>gonna let go, okay?

KIRBY  
>DON'T YOU MISS!<p>

THE ROPE SNAPS SOME MORE. The boat PLUMMETS DOWN THE FALL. Roy looks down - - he's missed it.

ROY  
>Shit!<p>

KIRBY  
>There's another one coming!<p>

ROY  
>We can't wait that long.<p>

Sidney presses the right switch - - BUT THEY GO EVEN FURTHER AWAY.

KIRBY  
>Sis, you better get this right!<p>

She brings it towards the platroom. IT JAMS before it can come close enough to matter.

SIDNEY  
>DAMMIT!<p>

Roy looks up at his fiancee... he has no other choice.

ROY  
>Kirby... you live your life.<p>

KIRBY  
>NO! Don't you start!<p>

ROY  
>You get married, you have kids.<p>

KIRBY  
>SHUT UP!<p>

IT SNAPS EVEN FURTHER.

ROY  
>I love you more than anything, baby!<p>

KIRBY  
>NO! NO!<p>

ROY  
>I'm sorry!<p>

... he lets go.

KIRBY  
>ROOOOOOY!<p>

HE PLUNGES AND VANISHES WITHIN THE ROARING WATERFALL BELOW.

KIRBY  
>ROY!<p>

MARK grabs Benjamin's head and SMASHES it against the next oncoming boat. Mark then jumps up to the side and climbs out of the water. Benjamin JUMPS OUT, grabbing his foot. MARK KICKS HIM in the stomach and UPPERCUTS him in the face. Benjamin lands at the top of the lift, the boat coming up towards him as he lays there, semi-knocked out.

Mark runs up the steps to help Sidney at the control panel. Sidney FINALLY unjams the rope connected to Kirby and it moves up - - IT SNAPS. SHE FALLS IN THE BOAT IN THE BACK ROW HEADED UP THE LIFT.

ROY RISES, CLIMBING UP from the ROARING waterfall and comes behind Benjamin. He runs to the boat and starts to untie Kirby. BENJAMIN BEGINS TO RISE, standing tall at the top of the lift. He looks up at Sidney and Mark at the top of the panel!

BENJAMIN  
>You'll never get rid of me! I'll live<br>on forever! I AM THE GHOSTFACE! The  
>ultimate Ghostface! ME! You may be<br>the heroine, Sidney - - BUT I AM THE  
>SHOW!<p>

SIDNEY  
>Guess what? Show's over.<p>

BULLETS FIRE IN HIS DIRECTION and PIERCE RIGHT THROUGH HIS BODY. He stands there screaming as he looks on at the SWAT team firing at him. Sarah holds her ears as the team shoots directly next to her. They stop firing - - BENJAMIN IS STILL STANDING. Sidney grabs the gun and THROWS IT down into the boat. KIRBY GRABS IT AND RISES UP - - SLOW MOTION - - AND FIRES A SINGLE BULLET.

IT THUNKS IN HER FATHER'S HEAD AND OUT THE BACK. The boat crashes into him, Kirby and Roy sit back down in the seat and it DESCENDS IN THE WATERFALL - - Benjamin's body trapped underneath all the way down and GRINDING IN WITH THE TRACK.

The waterfall turns a DARK RED - - and the boat SMACKS AGAINST THE WATER BELOW, turning it into a WAVE OF BLOOD that falls on top of the boat and on Kirby and Roy within. They cover theirselves from the raining blood and look at each other. The waves settle. KIRBY GRABS ROY AND KISSES HIM.

Back at the top, a SWAT member grabs Sarah and begins running towards the exit. Mark and Sidney make their way down the platform.

MARK  
>Good work, gentleman.<p>

EXT. LOWER LOT - CONTINUOUS  
>Mark, Sidney and the other SWAT members come out the emergency exit of Prehistoric Scream and look onward. Roy is being carried away in an ambulance, Kirby following with him. They won't stop kissing. Mark looks at Sidney and chuckles. Sidney sees a black bag being carried toward the coroner van. She stops them.<p>

SIDNEY  
>Is that him?<p>

MARK  
>Sidney, I don't think you'll wanna see this.<p>

SIDNEY  
>Believe me... twenty years of my life...<br>I wanna see.

The coroner unzips the bag - - Benjamin's once bullet riddled body is now a mangled mess, completely in shreds from being stuck under the boat. Mark is actually sickened by this sight.

SIDNEY  
>Now like that... I'll accept you... dad.<p>

They zip back up the bag and carry on their way. Mark pulls Sidney in close and holds her. A HELICOPTER LIGHT SHINES DOWN ON THEM and they both look up. Mark touches her cheek and holds her chin, pulling it in towards him. They kiss.

WE CRANE UP - - taking in the whole scene. The coroner van is being loaded in, the ambulance is taking off, reporters are coming down the stairs to the lower lot - - and the sun is rising. It's going to be a beautiful day.

FADE IN:  
>INT. PRESS CONFERENCE - DAY<br>A police cheif makes his way to the podium and looks on at the press.

CHIEF  
>Today, one of the most violent crime<br>sprees in the history of America came to an end.  
>With more than 30 casualties total over a<br>two month span, I am glad to announce, it is over.

THE AUDIENCE CHEERS. We now montage through the events as he speaks about them.

- Kincaid's office.

CHIEF  
>We have collected a numerous amount of<br>evidence detailing all the going ons in  
>the supposed Ghostface Society. We have<br>found the hard drives, hard ware and all  
>of the files that chronicled every action<br>that went on within. And in that evidence,  
>we have found ALL 27 of the remaining members<br>of the Ghostface Society and we have taken  
>them into custody.<p>

- MORRISON sits at his couch, a gun to his head. He's about to pull to the trigger - - SWAT BURSTS IN AND GRABS HIM, ARRESTING HIM.

- MALLORY FOX, NICK SEEDS & DOZENS OF OTHERS MAKE A LINE TOWARDS THE COURT ROOM, reporters trying to get their questions in as they pass by.

CHIEF  
>The website they operated out of has been<br>compromised by us and we are now in the  
>process of making sure there aren't any<br>other leads or that any other crimes were  
>organized by this organization. The survivors<br>of the attacks, from this moment on, have  
>decided to leave their respective cities and<br>if they knew each other... they will no longer,  
>unless man and wife... live within the same area<br>for their continued safety and to be protected  
>from any potential oncoming attacks.<p>

FADE TO:  
>EXT. SANTA MONICA PIER - DAY<br>Kirby is at the end of the pier... holding an urn. She looks down at it and rubs it...

KIRBY  
>Okay Niley... this is where you'll go.<br>Your favorite place.

She kisses the urn and her eyes begin to water. Sidney approaches her from behind and puts her hand on her shoulder.

SIDNEY  
>Hey.<p>

KIRBY  
>Hey.<p>

SIDNEY  
>Want help?<p>

KIRBY  
>Sure.<p>

SIDNEY  
>(beat)<br>I just wanted to say, that um... whether it  
>counts or not... I'm proud to have you as<br>a sister.

Kirby smiles and then lifts up her shirt.

KIRBY  
>We have the matching scars to prove it.<p>

Sidney laughs and then looks out at the ocean. "Locke'd Up Again" by Michael Giacchino begins to play (youtube . com/watch?v=6sAuOcdRpy0).

SIDNEY  
>(beat)<br>You know... after all those times being asked...  
>"how would you like to die," I actually came<br>up with an answer?

KIRBY  
>Really? What?<p>

SIDNEY  
>... I wanna be old. 85, maybe. And I wanna<br>live in a cottage... somewhere in Ireland...  
>sitting in a rocking chair with a good book<br>in my hand... staring out the window at the  
>deep green that goes on further then the eye can see...<br>(jokes)  
>Sheep passing by and everything.<p>

They both laugh.

KIRBY  
>I'll miss you, Sid.<p>

SIDNEY  
>We'll see each other... one day. When we - - can.<p>

KIRBY  
>Precaution. I know.<p>

SIDNEY  
>But hey... we can still talk. All the time.<p>

KIRBY  
>Okay.<br>(beat, sighs)  
>Okay... let's do this.<p>

(1:06) Kirby opens the top of the urn and looks down inside. Sidney helps her hold it up. There's a bit of reluctancy... but they continue on.

(1:22) Kirby and Sidney empty the urn, Niley's ashes FLOAT IN THE WIND, spiraling into patterns and then fade away into the air. Sidney watches, and they both begin to cry. It's beautiful...

(1:40)

SIDNEY  
>Alright kiddo... I'm out of here...<p>

They hug tight. She whispers something in Kirby's ear - - but we can't hear. They let go and Sidney continues on.

KIRBY  
>I'll call you.<p>

SIDNEY  
>(turns around smiles)<br>... text me.

They smile at each other and Sidney continues on. Kirby looks back out at the ocean. We begin to zoom out as her back is to the pier, she looks on...

(2:01)  
>CUT TO:<br>INT. CANADIAN SUBURBS - DAY  
>The music continues. Gale and Dewey live a happy life together, enjoying the mom and dad life. Their son, grown up a bit to about 5 years old, RUNS into his father's arms. They both laugh and he takes his son to Gale, cooking at the stove. Their son gives her a BIG KISS. Dewey smells the food and tries to taste it. She slaps his hand.<p>

(2:10)  
>CUT TO:<br>INT. DINER - DAY  
>RJ returns to his seat at a booth and looks down. He goes ahead and kneels his head down and sips on the soda... something is... different... HE JUMPS UP and looks out the window, his eyes searching onward. His mother, Karen, comes to booth now and puts her hand on his shoulder. RJ begins to cry and she pulls him in for a hug.<p>

(2:20)  
>CUT TO:<br>INT. CHAPEL - DAY  
>Kirby and Roy, dressed as man and wife, come in for a kiss. Nobody is there but they don't care... they're as happy as can be.<p>

(2:37)  
>CUT TO:<br>EXT. IRELAND PLAINS - DAY  
>Sidney exits a small cottage and looks on. The grass is green as FAR AS THE EYES can see. She sighs and smiles... looking on. She takes in this moment of sublime... she closes her eyes and feels the wind brush through her hair. Tears start to form. Mark approaches her from behind and grabs onto her, kissing her on the cheek. They both then kiss and go into the house...<p>

The music fades out at (3:00).

FADE TO:  
>INT. BECKER'S HOUSE - NIGHT<br>WE SLOWLY PUSH IN ON A BLACK, CORDED PHONE... it rests on a small desk next to a couch. We can hear echos of the previous films quotes, meshing together... everything else - - is just quiet.

"Do you like scary movies?"  
>"Showgirls. It's frightening."<br>"My name isn't Jesus."  
>"Now shut the fuck up and watch the movie."<br>"I don't even know what a pariah is..."  
>"It's time for the FINAL ACT."<br>"I'll send you a copy. Bam! Sid! Superbitch!"  
>"No, please don't kill me, Mr. Ghostface! I wanna be in the sequel!"<br>"EVERYBODY'S A SUSPECT!"  
>"Does that mean I'm not gonna live as long as these two?"<br>"Your entire havoc-inducing, thieving, whoring generation disgusts me."  
>"You killed my son! And now I kill you and I can't think of anything more rational!"<br>"There are certain rules one must abide by in order to successfully survive a horror movie!"  
>"Cause these days, it's all about the trial!"<br>"Lucky for you there's a bonus round, but poor Steve, I'm afraid, he's OUT!"  
>"Liver alone!"<br>"One generation's tragedy is the next one's joke."  
>"Have you ever felt a knife cut through human flesh and scrape the bone beneath?"<br>"Surprise, Sidney."  
>"He was making a movie called Stab... he was stabbed."<br>"For our new listeners joining in... Roy Popper is about to get the ride of his LIFE!"  
>"You don't have to achieve anything! You just have to have fucked up shit happen to you."<br>"So you a big 100% Cotten fan?"  
>"When you're friends with Sid, you die."<br>"You have made millions off the story of her murder. You're obsessed with her and you're obsessed with her daughter!"  
>"We all go a little mad sometimes..."<br>"NONE OF THE ABOVE!"  
>"Careful... this is the moment where the supposedly dead killer comes back to life, for one last scare..."<br>*GUN SHOT*  
>"Not in my movie."<p>

The quotes now all stop meshing together and we focus on this last one:

"Okay, I think it's going to go something like this, just stay with me. Hi, this is Gale Weathers with an exclusive eyewitness account of this amazing breaking story. Several more local teens are dead, bringing to an end the harrowing mystery of the masked killings that has terrified this peaceful community like the plot of some scary movie. It all began with the scream of a 911, and ended in a bloodbath that has rocked the town of Woodsboro."

THE SCREEN SLOWLY FADES TO BLACK.

-  
>"Hello?"<p>

THE CREDITS SMASH ON with "Kiss With a Fist" by Florence and the Machine beginning to play (youtube . com/watch?v=WZOBRbVCJL4) at (0:10).

THE END

Eileen Pace  
>JENNIFER ANISTON<p>

Sheriff Dewey Riley  
>DAVID ARQUETTE<p>

Sidney Prescott-Kincaid  
>NEVE CAMPBELL<p>

Gale Weathers-Riley  
>COURTNEY COX<p>

Detective Mark Kincaid  
>PATRICK DEMPSEY<p>

Niley Krinkey  
>ARIANA GRANDE<p>

Kirby Reed  
>HAYDEN PANETTIERRE<p>

Judy Hicks  
>MARLEY SHELTON<p>

Cassandra Poe  
>ODETTE ANNABLE<p>

Sarah Reed  
>KATRINA BOWDEN<p>

Karen Kolchec  
>LINDA CARDELLINI<p>

Allison Ricci  
>DAVEIGH CHASE<p>

Sorority Sister Nessa Myers  
>LYNDSY FONSECA<p>

House Mother Lois  
>REBECCA GAYHEART<p>

Jane Clemens  
>JESSICA LOWNDES<p>

Detective Wallace  
>JOHN PAIS<p>

RJ Kolchec  
>MAX RECORDS<p>

Lennon McCoy  
>RYAN SHECKLER<p>

House Mother Murphy  
>PORTIA DE ROSSI<p>

Ackerman Steel  
>ELI ROTH<p>

Dr. Montgomery  
>KATE WALSH<p>

Tina Ricci  
>TAYLOR SWIFT<p>

with  
>Benjamin Stills<br>KURT RUSSEL

and  
>Roger Kincaid<br>MAX VON SYDOW

special appearances by  
>Detective Panama - BRAD DOURIF<br>John Milton - LANCE HENRICKSON  
>Joel the Cameraman - DUANE MARTIN<br>Stu Macher - MATTHEW LILLARD  
>Jay - JASON MEWES<br>Silent Bob - KEVIN SMITH  
>Billy Loomis - SKEET ULRICH<p>

also  
>Ghostface (stunts) - DANE FARWELL<br>Ghostface (voice) - ROGER JACKSON

-  
>DIMENSION FILMS PRESENTS<p>

SCREAM 6

"Pig" by Weezer begins to play for the rolling credits.

"Red Right Hand" by Nick Caves and the Bad Seeds begins to play in the dwindling moments of the end credits. Which leads to this - - accompanied by their pictures - -

R.I.P to the following:  
>Maureen Prescott<br>Neil Prescott  
>Kate Roberts<br>Steven Orth  
>Allison Ricci<br>Tina Ricci  
>Chuck Ricci<br>Casey Becker  
>Tatum Riley<br>Maureen Evans  
>Phil Stevens<br>Derek Feldman  
>Hallie Mcdaniel<br>Randy Meeks  
>Casey Cooper<br>Marnie Cooper  
>Christine Hamilton<br>Steven Stone  
>Jenny Randall<br>Olivia Morris  
>Rebecca Walters<br>Robbie Mercer  
>Trevor Sheldon<br>Shirley Mack  
>Richie Porter<br>Carrie Stout  
>Mariah Kimbry<br>Clark Hammer  
>Louis Hobbs<br>Mitchell Donner  
>Kris Orredondo<br>Carl Orredondo  
>Philip Dominguez<br>Lennon McCoy  
>Terri Sanchez<br>Actress Cassandra Poe  
>Director Ackerman Steel<br>Head of Drama Department Gus Gold  
>Judy Hicks<br>Nessa Myers  
>Niley Krinkey<br>Beverly Reed  
>Sarah Reed<br>The initial cast of Stab 3 including Cotton Weary  
>The entire Omega Beta Zeta sorority (Class of 2016)<br>All those who gave their lives in the Woodsboro & Los Angeles Police Departments.  
>And to all the others lost during the 20 year span of the Ghostface Murders.<p>

THE END

* * *

><p>Extended Ending Changes:<br>- Additional dialogue when Gale is trying to bring back Dewey  
>- Dewey speaks after he awakes<br>- A description of what Prehistoric Scream looks like  
>- Confirmation that Eileen is alive<br>- Mark's talk with the SWAT team adds the finding of the ICP addresses in the GF Society  
>- The final killer's monologue has been extended.<br>- Sidney and the killer talk before the fight  
>- The entire fight with the final killer stays inside Prehistoric Scream and has been changed entirely.<br>- The killer has final words  
>- The police chief's scene has been extended<br>- The pier scene has been changed for the music to start at a different point, making Sidney's final words be able to have time taken with the dialogue instead of rushed to fit the music.  
>- Quotes have been added for the final shot.<br>- The credits

When reviewing, if you have time, answer a few of these for me!:  
>1) Your favorite parts<br>2) Your favorite new characters  
>3) Your favorite returning characters<br>4) Least favorite those first three from above  
>5) Least favorites...<br>6) Least favorites...  
>7) Top 5 most intense moments<br>8) Top 5 best deaths  
>9) Top 5 most surprisingshocking moments  
>10) Your reaction to the killer reveals<br>11) How good were the motives?  
>12) Who did you think the killers were from the beginning? Did it change often?<br>13) What did you think of the music incorporation?  
>14) Have you referred this story to anyone else and if not already, will you?<br>15) Did the grand finale live up to everything presented before it?  
>16) One out of 10, to being high, rate Scream 6.<br>17) Which one did you like more, Scream 5 or Scream 6?  
>18) RANK the Scream films (including my part 5) in order from most favorite to least.<br>19) What fanfic would you like to read next written by me? (Nightmare on Elm Street, I Know What You Did Last Summer, Urban Legend, Dawn of the Dead, etc.)  
>20) Saddest moment(s)?<br>21) Your top 5 favorite moments of any kind from Scream 5 & 6.  
>22 - NEW QUESTIONS) What did you think of the extended material in the final chapter?<p> 


	26. The Effects of Scream 6: The Entire Saga

***Warning, this contains spoilers for all of the Scream Saga, including Scream 6. Do not read unless you have finished all of the films, Scream 5 and Scream 6***

From beginning to end, the entire Scream saga, explained based on the events revealed in the three part finale:

Benjamin was a struggling writer in the seventies who knew Maureen Evans and they had a child, Roman. They were together until they parted ways and Maureen returned to Woodsboro where she met Neil and got married, leaving her son Roman behind to start a new life. Maureen wanted to be a star again in the eighties and went back to Benjamin, having an affair behind Neil's back.

Benjamin and Maureen have another child, Sidney, but Maureen leaves Benjamin and goes back to Neil to have a life in Woodsboro and passes their new child off as Neil's offspring. Roman grows to be much more successful in the film industry than his father but Roman could never get him a solid job considering he was either not born yet or a child in the 70s and 80s and in the 90s he was barely starting and then ofcourse his death. In the 90s, on an on set visit to one of Roman's films, Benjamin meets Beverly Reed and they have an affair resulting in another daughter for Benjamin, Kirby. Once again, the same situation with Maureen happens from nearly two decades ago.

Benjamin helps Roman know who his mother was. Roman visits his mother and is rejected. Roman grows obsessed, watching his mother and tells Billy of the affairs she was having with his father to stir the pot. Billy and Stu kill Maureen and then try to kill Sidney. Billy and Stu leave a confessional tape, leaving it in the house in the basement and also tell Mickey of their plan in hopes he'll take up the mission in the event of their death. Roman takes the tape after the murders and holds on to it, knowing that Billy failed and that Mickey would probably help the cause.

Mickey meets Mrs. Loomis online in the same serial killer forum and they share ideas, Mickey already a fan of her son's work but they both eventually fail as well. Roman ultimately seeks revenge on Sidney and fails as well and possibly unbeknownst to his father but he leaves his father behind the tape of Billy and Stu. Benjamin meets Judy during another effort to restart his writing career and she gets pregnant but she gets rid of the baby. Benjamin moves into Stu's house and after multiple name changes, nobody knows he's the father of Roman Bridger (Bridger possibly being his original last name) and he hears of the Ghostface Society, created by Murphy. He enters in hopes this could be a way to finally connect with his daughter who has grown to be famous over the years. He then tells the group he has a tape to show them (although at the time, very few members).

Roger Kincaid also joins the society after his wife's death but as an organizer and he organizes the top candidates for the people who can get a specific job done: Killing Sidney Prescott once and for all so his son will be out of danger and for simple revenge. Joseph Morris at the time has since joined the society after his sister's death and convinces Martha they are more alike than they think. He lets Martha know of the cause of the Ghostface Society and to help spread the word on the underground, uses Roy's radio show as a proxy to expand. Martha and Joseph both fail in the mission but in the event of their death, the Ghostface Society grows as they had hoped just in case.

They wait 4 years, assembling a team that Roger felt were fit enough through the forums and chats they had over the internet, along with multiple in person meetings where they would come disguised in order not to jeopardize the integrity of the group. Benjamin, being one of the initial members, is in that group along with Everett, who joined after Joseph told him about it. Everett goes under the disguise as Billy Loomis since he was obsessed with him and even goes to lengths to steal his original costume during the police department fire that happened on the night of Joseph's death. Murphy, although the founder of the society, begins to let Everett take control, believing he really is Billy Loomis (even though he has never said so until the final meeting after Morton was killed, which gets Murphy's hopes up).

Benjamin gets the job of theme park director for Sunrise Studios Theme Park and finds a loophole into recreating Stab but in practical form instead of film. There, he figures that police will come searching the lockers so he puts the evidence in a vacant locker and puts RJ's name, a friend of Morton's who they know is Randy's son, on the locker manifest to throw the cops off on their chase for the killer since he is Niley's boyfriend and can be seen as a Billy Loomis replacement.

Benjamin ultimately doesn't like the direction the group is going in since he wants Sidney alive and then manipulates the entire group into getting killed so he can have Sidney to himself for a family reunion of sorts but not after he ultimately gets revenge on Judy. With Roger caught by his own son and the entire Ghostface Society being revealed and with both Murphy and Benjamin dead, it is safe to say that everything brewing up over the last 20 years finally comes to an end. With that all in mind, all of the events that have occurred in the Scream films were because of Benjamin & Roman and the Ghostface Society, except for Jill and Charlie who acted alone.

In a single last effort for ultimate safety, the survivors split up across the globe so they can't be lured to one another again to be killed or be easily found by any possible remaining members of the Ghostface Society or anyone else with a grudge against the Society being caught.

Review:

1) With everything in mind, did Scream 6 bring an ultimate conclusion to the franchise?

2) Who's your favorite member of the Ghostface Society?

a - Roger, the organizer

b - Morrison, Mallory or Nick, the manipulators

c - Morton (Scarecrow), the newbie

d - Everett (Zombie), the Billy Loomis wannabe

e - Murphy (Bloodred), the Billy obsessed founder

f - Benjamin (Ghostface), Sidney and Kirby's father

3) Who had the best motive monologue, Roger, Murphy or Benjamin?

4) Do you think there's still members of the Ghostface Society that haven't been caught?

5) What was your initial reaction to the idea of a Ghostface Society? Did you end up enjoying or disliking the idea the more you read? How did you feel once it was all over and you knew the effect the Ghostface Society & Benjamin had on all of the saga?


	27. Q&A With the Author: Part 1

**Q: The story starts 4 years after the events of part 4 and 5 in 2016. Why than?**

A: There are a certain amount of things that needed to happen between that timeline in order for this story to work. As readers have probably seen, there's at least 4 Ghostfaces this time around and they're actually working together, unlike part 5. What caused that, how did they come together, what's their ultimate goal? Those are the things that are going to be explained down the road and there was a specific amount time for those things to happen. Let's just say psycho doesn't always happen at once. Also, I felt the characters needed to advance to a point where they seemed to have grown to a completely different time of their lives. To just go to the next step wouldn't be interesting. I felt like showing Sidney and Mark come back together would be too obvious so I went ahead and jumped to "voila, they're married once this thing starts." But people might be going, "well what about all the drama between them we were hearing about earlier?" And I thought it'd be ten times more interesting if those problems started to come to the surface once they were back together again and in another harrowing situation. Another obvious thing I thought to do would be to show Kirby & Roy's progression as a couple so once again, I just jumped right into it to them also about to get married. Readers probably won't have the time to warm up to the idea but I found the idea of them fighting for each other while together would be much more powerful. You'll see that connection, that bond they've created through the actions that they'll eventually do for each other. And lastly, Dewey and Gale having a baby at this point seemed obvious so I did the opposite; they're incapable of having one. How does this affect their already rocky relationship? How does this make Gale feel once she realizes she's getting older and maybe even a bit less relevant? We soon learn that journalism isn't her thing anymore and a friend from the past is going to come in and try to help her find something new for her to do, which is going to really advance Gale's backstory, which honestly there hasn't been much of. These all seemed like appropriate story telling choices for what would be the epic finale of the Scream saga.

**Q: So 4 Ghostfaces... a bit much?**

A: In a way and it's a really bold choice. I was iffy if I should go that direction but honestly, there's so many awesome ways this can work out. The way I figured to make this work is not have them know each other's identity within the Ghostface Society. That IMMEDIATELY sets up so many awesome possibilities. For part 5, the radio plotline is what really drove the story. For this one, the FINAL Scream, the entire mystery of it all and how it came together and how it'll finally end is the big idea. One concern I had was, "will people still find this scary now that there's so many of them?" And I immediately thought, ofcourse not, this now sets up a NEW type of scary. This is once again revolutionizing and evolving Scream. The killers have become so advanced that they realize not just one or two of them is going to work. They now literally can be anywhere and everywhere all at the same time. Which made Allison's death scene, to me, really insanely creepy. She thinks she's outrunning one but turns out she's outrunning three and is ultimately killed by all three at once. There's also a bit of foreshadowing in the opening scenes at Halloween Fright Nights, that this time, havoc may really run on the streets of Woodsboro JUST like that if the conditions were to be made in that way. But for the most part, the killers will be working solely so their devastation can be spread out.

**Q: What made you want to do the whole "8 Hours Earlier" bit?**

A: It's a simple set 'em up and knock 'em dead tactic. I knew people would be kinda like "whoa, wait a minute, this is new" and feel uncomfortable about it. But once again, this is taking Scream one step further. You can't do exactly the same formula for the FINAL Scream and make it epic, you have to advance it. So the storytelling formula is changed a bit but this is purposely done because the world that the characters are living in is about to be turned upside down. To simply start at HFN, or Stu's house for that matter, and go into the story wouldn't be as hard hitting. There's a few things you have to know in order for those circumstances to be as effective. To know Kirby works at Sunrise Studios, the site where the murder will later happen, sets up that she is in close range of danger and that the killer is amongst her. And it's also needed to get the idea of her new routine. For her to come to work the next day and see that a murder has happened wouldn't make much of an impact if you didn't already know she worked there and started to feel comfortable. Same goes for Niley going to Stu's party. Allison's death was carefully planned, especially since she's the sister of Chuck and Tina. But Niley was also targeted at the party. But why? There's some type of mystery surrounding Niley at the moment and apparently she has something special about her. To just jump right in and not know any of that would make it really fall flat and make the ending and where it's going not as fulfilling. If a simple "8 Hours Earlier" has people concerned about where this is going, I hate to forewarn them that there's also a "2 Months Later" gap coming up in just a little bit. Like I said, the killers have gotten smarter and now know to space things out so they don't get caught.

**Q: What can you say about the 4 Ghostfaces?**

A: Well they all have a different persona and this had to be done to fulfill the story arc that we hear about in the beginning about the costumes not being sold anymore. We have the classic, original Ghostface, who obviously got their costume from Sunrise Studios Theme Park. Then there's Zombie Ghostface, which you will learn later is a stolen police evidence mask of one of the former killers. This also has become a really important story telling element and I hope people appreciate that every part of the story effects other parts of the story and not in just small ways. I HOPE people are getting that and I'm pretty sure they'll see how such a small, simple idea as "costumes can't be made anymore" really pushes things forward. Also there's Scarecrow Ghostface, which was actually originally seen in Scream 4 but was cut (same thing with Zombie actually). It's a mask that is basically sewn with the scarecrow material. It's really creepy. Then there's Blood Red, which is the regular Ghostface mask but instead of wearing a black cloak, they wear a white sheet and let it be colored by the blood that is splattered on them from their victims. That idea really creeped me out but I figured audiences will still be satisfied as long as original, classic Ghostface is still around. It's just a matter of obstacles, once again like in Scream 5, when phone calls were monitored by the police department. Ghostface out tricked them than and they're out tricking them now. It's really exciting to me and I hope it excites others that things are being kept fresh and evolving instead of staying the same exact way it has been since the first just with new characters and new environments.

**Q: The styling choices, aside from the ones previously mentioned, are vastly different from anything seen before in a Scream film. I'm talking about the Niley and Masked Man (Everett) moment.**

A: I wanted to give it a very creepy, sensual vibe. And like I said, there's this mystery surrounding Niley at the moment and that scene was really highlighting that. The music is really playing an integral part of that scene but as far as creepy and sensual go, I promise that'll be the last of scenes like that. From this moment on, we're going back into "thriller mode" with Ghostface popping up in "horror mode." I wanted to get that scene out of the way so people could get that understanding if they didn't get it from Nessa already. There's nothing supernatural going on though, that would be very unlike Scream and I know would piss a lot of people off. There's a plotline coming up that TEASES that but nothing is ever what it seems to be. Hopefully people just stay around for the ride to see what it all amounts to. Which also brings me to the other "style" thing is that this story is really dialogue heavy. But for the last Scream, a bunch of points need to be brought up. I hope it just doesn't bore people because usually the only time I get reactions from readers is when someone gets killed off but I promise that everything said has a point. Most trained readers realize that nothing is put in a story for no reason but for others, I hope I just don't lose any. To me, this is all the interesting stuff. Who the characters are now, what the story is leading to, etc. For example, Sidney is really happy in this time of her life. She finally got married. Without much of the dialogue, it wouldn't be as depressing when she realizes that she's being attacked AGAIN. But I always find it funny that I usually get reviews for chapters that involve deaths. I love reviews for chapters with character moments too! Deaths are integral but I feel characters are most important so I just wanna know if I'm satisfying everyone in that department.


	28. Q&A With the Author: Part 2: NEW!

**Q: There are quite a lot of things that pop up in Scream 6 that were in Scream 5, even if casual readers don't realize it. Was this always intended?**

A: Definitely. The one thing I knew while writing Scream 5 during the Dewey & Judy stuff is that Gale would have to choose between them who would live or die. In any regular situation, Gale would probably just say Judy without even a second thought but it had to be more complicated than that. So Gale then hears about a slight moment of unfaithfullness on Dewey's part but the complicated part is, that Gale has gotten to know Judy and actually envies her because she has a kid, something she hasn't been able to have in a long time. And Gale at the time knows she's pregnant so she can easily relate to Judy on a much more personal level knowing that if she were to die, her son would be without a mother. Another REALLY important aspect was Kirby's mother having a job in Hollywood before she got married. I wanted to throw that scene with Kirby at the grave earlier in the story, hopefully so people could have that flashback and remember what Beverly was all about. Plus, as always, it wasn't coincidence that Judy is an actress and in Scream 5, revealed she tried to get a job in Hollywood. So it seemed plausible that all these struggling actresses that never really made it ran into Benjamin at some point. Now it can be assumed that Benjamin was purposely trying to get these girls pregnant and it would be Judy to be the only one to actually not have the baby, something he would hold in resentment resulting in him wanting to kill her. Another thing is Roman Bridger; this isn't exactly touched much upon in the ending because I didn't want to bloat it out too much but Sidney and Roman are actually fully blood related while Sidney and Kirby are half sisters. And if Judy were to have her baby with Benjamin, that would've been another half sibling to tie in with everything. Is it all a bit far fetched that all these people would know each other? Maybe, to some extent but it's the very reason I added in that scene with Beverly telling Sidney about how she knew her mother back when she used to work in Hollywood when she was younger (Beverly having Kirby at a much older age). That scene was actually cut down a bit back in Scream 5 because I didn't want to make it too obvious that angle was coming later down the road but it was always in the bigger picture.

Q: How did Scream 6 fare in comparison to Scream 5's audience?

A: Almost quite the same in the amount of people who read it which shocked me because I thought there would be a considerable amount of people who wouldn't go on to read Scream 6 but if anything, Scream 6 is actually proving to eventually have a bit more readers. But then again, Scream 5 is still going strong with people still constantly reading it. I think in the long run, Scream 5 will have more readers but Scream 6 will be pretty close. As far as reviews go, Scream 6 has quite a few more reviews than Scream 5 at this point and they're all generally positive but I think the main consensus is Scream 5 was better or for those who liked Scream 5 but didn't think it was all great thought Scream 6 was much better. Then there's a tiny few who like them both equally and place them in the same level of greatness as the original film, which is shocking to me to even be thought of in that way. But I'm grateful to anyone who even reads a tiny bit of my stuff and even more grateful to the people who like it and to the people who actually review what I write, they're even more awesome whether it's good or bad because it always helps me know what I can do better so to all the readers, it's VERY important that you review. Thank you to all the fans :)

**Q: Let's talk motives. Roger, Benjamin and Murphy's were thoroughly explained. What about Morton and Everett's? The other people in the Ghostface Society we see at the end?**

A: Morton's is left up in the air but it can be simply assumed he's insane and wanted to be apart of something. It's let known that he's new to the group and therefore he pulls the most weight to be accepted and you'll see he kills quite a lot of people. As for Everett's, that's a little bit more complicated. We already get the idea that he was pretending to be Billy Loomis. He even stole his original costume. He also even calls himself William in the holding scene. And other than trying to get to Niley, the new age Sidney Prescott, he doesn't really kill anybody unless they're in the way of his goal of killing both Niley and Sidney but ofcourse, he is killed before either can happen. So Everett at times probably truly believed he was Billy Loomis and was focused on trying to kill "his" Sidney. Also Morrison, Mallory Fox, Nick Seeds were all apart of the Ghostface Society. Mallory and Nick are a bit more simple - - they set up for people to go to HFN but ultimately it's not the people they wanted but luckily it ends up they attend anyway. Mallory also pulls Panama away from Niley as a distraction at the right time and Panama is eventually killed, possibly to be delivered to the Kincaid apartment so he can be used as a fake body for Roger so he can fake his death (which is why he puts the teeth around his body). As for Morrison, it's said at one point that the Ghostface Society has people on the inside of the force, which is how they know how to make their way through the Woodsboro Police Department so easily. Also, Morrison goes to the bathroom in Benjamin's office. At this point, Morrison has figured out who Benjamin is because he knows who lived in Stu's old house, so he does Benjamin a favor and sets the fire alarm off so he can get away.

**Q: There is quite a lot of character development and exposition. Was this to fulfill the need for a full circle Scream 6?**

A: Definitely. I mean, there are so many pages and pages of characters talking about their pasts and foreshadowing where things will lead later but I think in the end, it'll all be worth it. It bloats up the story just a tad and there's like a billion characters being introduced but I think people will be able to keep up if they're paying enough attention. Keep up with the story and the ending will feel very rewarding, hopefully.

**Q: So what's the body count in Scream 6? It was huge.**

A: Definitely huge but you can't do the last Scream film without going all out. There's even some singular scenes where more people die than they do in the entire first film. Not like body count equals quality in story or anything but I felt like it had to go extremely insane for the final Scream film and 4 killers running around. Overall, it's 38 but I was contemplating on leaving Eileen dead but in the extended version, I kept her alive so that would've been 39 and also I was originally going to kill off Sarah and make it an even 40 but I kept her alive as well so she can continue on in other stories so she wouldn't be a completely useless character.

Body Count:  
>Kris - Stabbed, gutted then hung like Casey Becker (offscreen) [Ghostface]<br>Carl - Thrown into van, stabbed to death like Randy Meeks (offscreen) [Ghostface]  
>Philip - Stabbed in hand, back ripped open [Ghostface]<br>Tina - Stabbed in shoulder then stabbed to death [Ghostface]  
>Allison - Turns taken stabbed to death [Scarecrow, Zombie &amp; Bloodred]<br>Lennon - Stabbed in back and then thrown through window [Scarecrow]  
>Terri - Stabbed down the throat [Bloodred]<br>Guard #1 - Stabbed in throat [Ghostface]  
>Guard #2 - Stabbed up the jaw [Bloodred]<br>Guard #3 - Stabbed in chest [Scarecrow]  
>4 Policemen - Blown Up in Explosion [Bloodred]<br>Porter - Gutted, computer replaced as insides (off screen) [Scarecrow]  
>Wallace - Hit by fire extinguisher, stabbed in the head [Scarecrow]<br>Cassandra - Head thrown into TV, foot smashed & crushed by chandelier [Ghostface]  
>Ackerman - Stabbed in the shoulder &amp; eye [Scarecrow]<br>Morton (Scarecrow) - Impaled by plank [Premiere Officer]  
>Lois - Axe in the face [Bloodred]<br>Peyton - Double impalement with Jane (offscreen) [Zombie]  
>Jane - Double impalement with Peyton (offscreen) [Zombie]<br>Niley's Bodyguard #1 - Neck stabbed [Ghostface]  
>Niley's Bodyguard #2 - Thrown off roof and impaled on gate [Zombie]<br>Gus - Stabbed in the head, thrown over railing into glass table [Zombie]  
>Rally Speaker - Stabbed in the Chest [Bloodred]<br>2 Frat Guys - Stabbed in Stomach [Zombie]  
>2 Frat Guys - Stabbed in Stomach [Bloodred]<br>Everett (Zombie) - Choked out of window, through trees, dragged on the street then stabbed [Bloodred]  
>Roger (Organizer) - Shot in the ribs &amp; left to bleed to death [Kincaid]<br>2 Owners of the Becker House - Unknown [Ghostface]  
>Judy - Gutted [Ghostface]<br>Chuck - Stabbed in throat [Ghostface]  
>Nessa - Throat sliced, thrown on top of van (offscreen) [Bloodred]<br>Niley - Stabbed repeatedly in the back, blows self up to save Sidney [Bloodred & herself]  
>Murphy (Bloodred) - Blows up in explosion [Niley]<br>Morton (Ghostface) - Beaten senseless, shot to death, shot in the head then crushed by boat [Kincaid, SWAT, Kirby, Sidney]

Tally points - -  
>Bloodred: 13 12 (half point for practically killing Niley)  
>Ghostface: 11<br>Zombie: 7  
>Scarecrow: 6<p>

**Q: So let's talk about "killing off" Niley. What was the evolution of that?**

A: Well first off, hopefully people read the extended ending with the post credits scene that shows she's alive. It's a funny thing because when I was first writing her in Scream 5, she wasn't even supposed to make it out of that film. Her death was originally going to be Tess's but I loved writing her so much and I figured having such a dimwitted character actually turn out to be quite intelligent in this field would be a great moment. So I kept her in a bit longer and then I had her get shot. And even as I was writing, I knew I couldn't kill her there either and that the blood-vest thing would come in handy for later in Scream 6 after people probably had forgotten about it. So I tweaked Scream 6 a bit from the original plan but not too much to include Niley, which is funny because she actually has the most lines but that's just because her presence is always there and she adds great comedic relief while at the same time, she can hold her own in an intense scene. But I definitely wanted people to believe that she was going to die in this one and I hint at her possible death from the very beginning but I knew that she wasn't REALLY going to be killed off which is why I made sure that line about faking her death so the world can't find a person that doesn't exist early on. I know that a lot of people loved her character, me especially, and her dying off is a monumentally sad thing and I give those people that moment to really let that hit them. But we're continuing on with her character in a different series now, along with a few characters - - so people can believe that Niley died in the Scream canon but in the new canon, she is still alive and that post credits scene follows the new canon. So ultimately, it's up for people to believe what they want but personally, for me, I think Scream 6 is a much stronger film with Niley dead and saving the day and that's how I want to see it. But with "I Know 3" coming, a completely different canon from the Scream saga, one can go ahead and go with the story of her faking her death. So it's really two answers: in Scream she's dead, in other stories, she's alive. And I think killing her off the way I did in Scream was really justifiable for her character instead of going out in a damsel in distress kinda way. She bad mouthes the killer (also hinting at her possibly living but in a more joking kinda way), pretends to die so she can help Sidney later and ultimately saves the day by blowing up the house with her in it. Now in "I Know 3", there's going to be some explaining as to how exactly she escaped unscathed but for the sake of Scream 6, she did in fact die saving Sidney and RJ. I know it might be a bit confusing for some but where the credits for Scream 6 ends is where a new canon for "I Know 3" begins.

**Q: Talk about "I Know 3" a bit.**

A: Well there's a few different titles. For the script, it'll be, "I'll Never Forget What You Did" but shorthand, it'll just be "I Know 3" and that's eliminating "I'll Always Know" because honestly, that's just a terrible movie so we're going to pretend that doesn't exist. And the fanfic name for the script will be, "Scream: I'll Never Forget What You Did" since technically, it's a crossover but with the amount of Scream characters involved, it probably won't be on the "I Know" fanfic pages since the movie will still revolve around the world of Scream and unless the "I Know" fans have read Scream 5 and 6, they won't fully understand what's going on. However, I do want to make this script stand out on it's own so those who didn't read Scream 5 and 6 can still read it and get what's going on, hopefully with not spoiling too much that happened in Scream 5 and 6. Scream, the story of Ghostface and Sidney Prescott, is over but for the other characters, the nightmare continues. I thought it'd be easy for Scream and I Know to exist in the same world since neither film mentions one another and the only really overlapping thing about them is that Sarah Michelle Geller is in both series but that can easily be shrugged off as a relative or something. It'd be much harder to place Scream within Halloween or Friday the 13th and take seriously since Scream mentions both of those franchises and even at one point, Halloween H20 has a clip of Scream 2. So "I Know" seemed like the best choice to put in the same world as Scream. As for style, I'm going for something much more slasher driven instead of the "epic scope" I did for the Scream movies. It'll be pretty short, 120 pages tops as oppose to the 200 or 295 pages for Scream 5 and 6 respectively. It'll have a lot of teen characters and also include some Scream survivors. I'm also going to be bringing back Julie and Ray. As for Ben Willis, well, he's dead and I don't wanna go down the supernatural route so it'll be a new killer this time around. I hope people will love it and read it when it comes out sometime within the next week!

**Q: What other projects will you be working on?**

A: One other thing that may interest fanfiction readers is something a little different from the slasher/horror thing but still related to the Scream world is something tentively titled at the moment as "Woodsboro High." Which would be a comedy, TV show like format that would take place 3 years before Scream 4 when Kirby and co. were in their sophomore years and characters like Roy and Niley were freshman. It would take a look at things like the creation of Cinema Club, 99.5 Scream radio and prior relationships (Jill and Trevor getting together) and also take a look at the people who knew Jill and Charlie. So I'm gonna do about 3 seasons of that with about 24 really quick chapters each leading up to the events in Scream 4. So expect all the teen characters from Scream 4 and 5 to be in it (aside from Mitchell, who was a freshman in Scream 5) along with some cameos from the films like Dewey, Gale or Judy. I'll be writing season 1 at the same time as "I Know 3" and will be posting it simultaneously since "I Know 3" will be a much shorter project than Scream 5 and 6. And this is a giant MAYBE at this point but I'm considering doing a short story of "The Omega Beta Zeta Massacre" and go more into the members of that and show a little more of what happened because for the sake of pacing, I had to make Jane and Peyton's deaths offscreen so I was thinking I could incorporate that into it's own little short story that's maybe like 3 or 4 chapters showing more of the members who might've died in other rooms of the house and etc. so I think that might be a fun little thing to do. After that, I'll be going back to my original projects and hopefully I can get some of my original material off the ground this summer and produced.

Scream: I'll Never Forget What You Did (May 23rd)

Woodsboro High: Season 1 (May 25th)

Omega Beta Zeta Massacre (To Be Announced)

REVIEW:  
>1) Do you enjoy reading the Q&amp;As?<br>2) Do you also like reading the commentaries?  
>3) Are you looking forward to any of the upcoming projects? Which one are you looking forward to the most?<p> 


	29. Alternate

FADE IN:  
>INT. HOSPITAL ROOM - NIGHT<br>"Life and Death" by Michael Giacchino (youtube . com/watch?v=LZ9lpOuukVs). Everything is mute and in slow motion.

(0:00) We see Dewey in a hospital bed, the doctors working on him - - he's not responding.  
>(0:10) Gale is on another bed next to him, trying to reach out to her husband's limp hand as the doctor's try to take care of her shoulder. (0:15)"DEWEY!"<br>(0:20) They continue CPR - - PUSHING IN HIS CHEST - - breathing into his mouth - - the same process over and over.  
>(0:45) The doctor looks up at the clock. Gale freezes... she can't hear him say it. Please don't say it. Tears already form in her eyes. "Time of death - -"<br>(0:55) GALE SCREAMS and JUMPS OUT OF THE BED. The doctors push her back, she's

(1:26) The music stops and all goes to regular motion, the sound in the room coming back to life. Gale looks on at her husband... gone.

SHE JUMPS FORWARD ONE MORE TIME, THIS TIME PUSHING HER WAY THROUGH. She reaches Dewey's bed side and begins POUNDING ON HIS CHEST. The nurses behind her try to push her down - - but the doctor shakes his head at them... they step away, letting Gale take in the moment.

GALE  
>You are my husband and I LOVE YOU, you're<br>not gonna die on me like this!

DEWEY'S DOCTOR  
>Mrs. Riley - -<p>

GALE  
>DON'T YOU DIE ON ME!<p>

DEWEY'S DOCTOR  
>Your husband is gone.<p>

GALE  
>NO, he's not, YOU HAVE TO KEEP TRYING!<p>

DEWEY'S DOCTOR  
>He was under the water for quite some time - -<p>

SHE KEEPS POUNDING HIS CHEST.

DEWEY'S DOCTOR  
>His brain lost a lot of oxygen. He came to<br>once or twice...

THUMP!

GALE  
>NO!<p>

DEWEY'S DOCTOR  
>He was brain dead... but his heart then shut<br>down too... there's nothing we can do.

Gale rests her head on his chest, crying. She gives up.

GALE  
>You're going to be a father... please... please!<p>

DEWEY'S DOCTOR  
>I'm sorry...<p>

Gale rests there for a moment longer... she then SLAMS on his chest again - - DEWEY GASPS FOR AIR. THE DOCTOR'S RUSH FORWARD. GALE SHOCKED, not knowing what to do. She laughs and stands back, letting the doctors do their thing.

GALE  
>That's my husband! He's gonna be a father!<p>

She watches him, the doctors checking his vitals. They seem steady. Tears of joy come from her eyes.

GALE  
>... that's my husband...<p>

CUT TO:  
>INT. UNDISCLOSED LOCATION - NIGHT<br>Roy's head is down, eyes closed... HE SUDDENLY AWAKENS. He looks around... the room is dark. He begins to breathe hard and he can feel something behind him... KIRBY is tied to him, also knocked out.

ROY  
>Kirby! Kirbiline! Wake up!<p>

Kirby's head rises, blood gushing from it.

KIRBY  
>(groggy)<br>What's going on?

ROY  
>I don't know... we were driving and then...<p>

SARAH  
>And then we crashed...<p>

Roy looks across the room... Sarah is tied to a pole, also bloodied.

ROY  
>Sarah, is that you?<p>

SARAH  
>Yeah... it's me.<p>

Roy looks around... he notices the sound of WATER RUSHING.

ROY  
>Where are we?<p>

SARAH  
>Well... either I'm losing my fucking mind<br>and hallucinating... or we're back in time  
>with dinosaurs.<p>

THE LIGHTS SHINE ON, KIRBY AWAKES FULLY NOW. Roy looks around - - TWO LARGE T-REXS SURROUND THEM.

ROY  
>WHOA! WHOA! WHAT THE FU - -<p>

GHOSTFACE  
>RELAX ROY...<p>

Roy stops and looks across the room, GHOSTFACES comes down a set of stairs.

GHOSTFACE  
>They're just audio-animatronics.<p>

ROY  
>Where are we?<p>

GHOSTFACE  
>You don't recognize it? It's your favorite ride<br>at SUNRISE STUDIOS THEME PARK!

His voice echos through the building.

ROY  
>This is Prehistroic Scream?<p>

GHOSTFACE  
>Ah, we're learning.<p>

KIRBY  
>How did we get here?<p>

SARAH  
>He owns this place.<p>

GHOSTFACE  
>SPOILER ALERT, SARAH. Don't give away the surprise...<p>

ROY  
>... Benjamin Stills?<p>

GHOSTFACE  
>... to you... sure.<p>

Ghostface walks back up the stairs.

ROY  
>(beat; totally confused)<br>WHAT THE FUCK IS GOING ON?

CUT TO:  
>INT. HOSPITAL - NIGHT<br>RJ is getting treated on his knee. Gale is outside the room, talking to Sidney and Mark.

GALE  
>Oh my God... poor Niley.<p>

SIDNEY  
>And Roy and Kirby are still missing.<p>

MARK  
>We'll find them later. Tonight, we rest.<p>

SIDNEY  
>Mark, I'm not gonna stop until we find them.<p>

MARK  
>That's not your job. I put out a BP for<br>them, if we don't hear anything by the  
>morning - -<p>

SIDNEY  
>It'll be too late by than!<p>

GALE  
>She's right, Mark. This guy is just...<br>toying with us now. He made a game show  
>out of who he should gut next, I highly<br>doubt he'll show Roy or Kirby any sympathy.

Sidney's phone rings. She looks at it - - Unknown Caller. She looks at Mark... you can tell in his eyes he doesn't want her to answer it.

SIDNEY  
>Moment of truth...<p>

MARK  
>(beat)<br>Answer it...

SIDNEY  
>(answers)<br>Hello?

GHOSTFACE  
>Sunrise Studio Theme Park. 20 minutes.<p>

SIDNEY  
>Do you have Kirby and Roy?<p>

GHOSTFACE  
>Wouldn't that be suggested at this point?<p>

Sidney looks up at Mark and nods. Mark puts his head down, sighing.

GHOSTFACE  
>Bring Mark, too...<p>

Ghostface hangs up. Sid looks at Mark...

SIDNEY  
>He wants you, too.<p>

MARK  
>Alright... but only if we do this my way.<p>

CUT TO:  
>INT. PARKING LOT - NIGHT<br>A SWAT TEAM POURS OUT OF A TRUCK AND LINES UP, Mark and Sidney standing before them.

MARK  
>The person you are about to face is highly<br>dangerous. Chances are, you could possibly  
>be injured in this operation or worse, killed.<br>The team they were incorporated with has  
>racked up a body count a dozen two times<br>over. They've killed cops, college students,  
>you name it - - they are stopping at nothing.<br>We have little over 10 minutes to get to the  
>theme park. Once you are there, you will<br>stay behind as far as possible. More than  
>likely, the entire place is rigged with cameras<br>so they'll know you're coming. Wait until  
>I give the signal that they are down AND<br>THEN swoop in. We have racked up an assorted  
>amount of intelligence on who this man might<br>be. Yes, the rumors are true, my father was  
>apart of the Ghostface Society and due to that<br>fact, we have been able to access their files  
>and hundreds of other pieces of evidence.<br>Once we have taken the suspect down, it is  
>shoot to kill. Let's go.<p>

CUT TO:  
>EXT. SUNRISE STUDIOS THEME PARK ENTRANCE - NIGHT<br>Sidney and Mark make their way up the entrance, wary of what's to come. Mark looks around for anything suspicious. The main gate is open - - welcoming them in. They make their way through the theme park and go towards the back to the lower lot.

EXT. LOWER LOT - CONTINUOUS  
>Sidney and Mark, hand in hand, make their way off the escalators and see the entrance to Prehistoric Scream. They enter the line. There's arrows pointed across the queue leading to the boat the ride takes place on. There's a note - - "get in." Mark goes first and Sidney goes next and pull the lap bars down. THE RIDE STARTS, pulling them up lift.<p>

INT. PREHISTROIC SCREAM - CONTINUOUS  
>The ride continues - - the fog laid in thick. A FAKE CORPSE hangs over head with a sign above it - - "Maureen Prescott." Another corpse - - "Steven Orth." Another corpose - - "Casey Becker." They continue their way through and enter a HUGE ROOM.<p>

CORPSES ALIGN THE WALLS AND HANG FROM THE CEILINGS, SITTING BY ON THE SIDE OF THE RIDE, SOME EVEN FLOATING IN THE WATER. TATUM RILEY. BILLY LOOMIS. STU MACHER. CASEY COOPER. MAUREEN EVANS. RANDY MEEKS. MARTHA MEEKS. JENNIFER JOLIE. COTTON WEARY. OLIVIA MORRIS. JOSEPH MORRIS. TYSON FOX. ROMAN BRIDGER. SARAH DARLING. TESS MARTIN. MITCHELL DONNER. JOHN MILTON and more, EVERYONE dead from each massacre in no specific order.

They go up another lift - - the music tensing up. THE BOAT STOPS. Mark and Sidney look at each other... THE INTERCOM SWITCHES ON.

GHOSTFACE  
>Attention riders, your ride has been disrupted<br>by unseen circumstances. You'll have disboard  
>for an emergency exit located up the stairs. Thank you.<p>

The LAP BAR PLOPS OPEN. They both get out and make their way up the security stairs on the side. They make their way to the next room - - they can see Sarah tied to a pole - - they walk even further in - - ROY and KIRBY are SUSPENDED in the air, DANGLING above the 90 foot drop the ride has for it's grand finale.

SIDNEY  
>Oh my God.<p>

They continue further... Ghostface slowly begins walking down the steps.

GHOSTFACE  
>WELCOME... did you enjoy the ride down memory lane?<p>

MARK  
>It was insightful.<p>

GHOSTFACE  
>I'm glad you thought so. Take a seat.<p>

They slowly make their way over to Sarah and next to her is two seats. They sit down. Roy and Kirby both seem exhausted and look down at them.

ROY  
>This is some bullshit!<p>

GHOSTFACE  
>Shut up!<p>

SARAH  
>Just tell them who you are and get it over with.<p>

GHOSTFACE  
>In time.<p>

SIDNEY  
>Benjamin Stills. Theme park director. Kinda obvious.<p>

GHOSTFACE  
>No doubt about that... but this isn't about<br>the surprise anymore. It's about what  
>makes a killer TICK. A man can go by many<br>names. For years, he can change it even but  
>some things... some things are forever.<br>To some I may be George Redman or Tony  
>Monroe... to most, I am Benjamin Stills...<br>but to you, Sidney... you can call me - -

HE UNMASKS HIMSELF.

BENJAMIN  
>- - Father.<p>

The soundtrack thuds.

SIDNEY  
>My father's dead. He died 7 years ago of a<br>heart attack. He's buried in Woodsboro cemetary.

BENJAMIN  
>The father that raised you and put a roof over<br>your head, SURE. But what about the father  
>that gave you LIFE?<p>

SIDNEY  
>No.<p>

BENJAMIN  
>How could you be so sure, Sidney? After<br>all, this all links back, ONCE AGAIN, to  
>your mother...<p>

SIDNEY  
>My mother might've done a lot of things but<br>having me with my REAL father is one of them.

BENJAMIN  
>You have no idea, Sidney! It's pathetic.<br>What did Neil, tell you, hm? Surely he  
>didn't tell you that they were happy because<br>I assure you, they weren't. Your mother got  
>a little more star hungry in the eighties<br>after the seventies fell through. And I  
>was there for her... I told her I'd write<br>her a part... we shipped that script across  
>town with her attached as the leading role<br>but nobody would take it! So she left me...  
>and took YOU with her...<p>

SIDNEY  
>You're crazy, that's not possible.<p>

BENJAMIN  
>Wake up! It's all possible. But I'm not<br>done with the surprises...  
>(looks up at Kirby)<br>... because it seems you have a sister, too.

The soundtrack thumps.

KIRBY  
>What?<p>

BENJAMIN  
>Now, I won't brag or anything but... let's<br>just say I got all the goods. And Beverly,  
>well, her and Maureen had more in common<br>than you think. And once again... another  
>child I wanted... TAKEN FROM ME. And then<br>I met someone... someone who seemed devoted,  
>someone who looked like they were gonna<br>actually give me a shot instead of RUNNING  
>away to suburbia and get married, leaving<br>me behind and taking my kid with them to  
>be raised by someone else. Judy was a nice<br>girl... and as history shows... she was  
>pregnant with my child, too. Ha, back in<br>those days, if you were a struggling ANYTHING  
>in Hollywood, you were gonna have to screw me.<br>Now, most of those girls, nothing became of  
>them. Some, sure, they made it. But Maureen<br>Prescott, Beverly Reed and Judy Hicks... they  
>all became FAMOUS. Sure, not in the way<br>they wanted... but hey... I did my job. Right?

SIDNEY  
>You're fucking sick.<p>

BENJAMIN  
>Don't talk to your father that way!<p>

SIDNEY  
>You're not my father!<p>

BENJAMIN  
>This isn't the first time I tried telling<br>you, Sidney! All those letters I sent! To  
>get no return from you? It seems like you<br>gotta literally put on a fucking GHOSTFACE  
>mask and start KILLING people to get your<br>attention anymore.  
>(beat)<br>So I found my in... and I played that little  
>"society" like a flute that they were running<br>when really, I was the one calling all the  
>shots through some really good reverse psychology.<br>The other guys, they had no way of killing  
>you. You're too good for that... hell, I<br>don't wanna kill you, Sid. I just want you  
>to accept and join me!<p>

SIDNEY  
>Maybe if you didn't kill people, sure!<p>

BENJAMIN  
>Well... when you're obsessive like me...<br>and people like JUDY have children with  
>other people but TAKE MINE AWAY FROM THIS WORLD,<br>you get a little psycho, no? So I thought,  
>what better way to show to you the value of<br>family by picking off some of the ones you  
>know best? Your personal demons and the<br>weight on your shoulders... and I admired  
>your life from afar, Sid... those Stab movies.<br>BRILLIANT. The banning of Ghostface costumes  
>became a bit of a worrysome problem but<br>once I became theme park director, all  
>the answers fell into place. And now...<br>I have you... and my other daughter's  
>attention... don't I?<p>

KIRBY  
>You can go to hell, you'll never be my father.<br>I may not have known the one who raised me  
>but you'll never be anything to me other than<br>a piece of shit!

BENJAMIN  
>That hurts, Kirby! First, no invite to your<br>premiere or your wedding - - that goes to you  
>too, Sid and THEN you don't accept me? Well<br>you know what? I don't accept your fiance!

ROY  
>Whatever, man, that hurts.<p>

Benjamin walks up the steps and comes to the same level as Kirby and Roy.

BENJAMIN  
>This is what happens when you don't accept me.<p>

Benjamin PULLS A LEVER, MOVING KIRBY AND ROY OVER TO THE PLATFORM Benjamin is standing on.

ROY  
>Hey, what are you doing?<p>

BENJAMIN  
>I'm sorry but you can't join the family.<p>

BENJAMIN STABS ROY IN THE STOMACH.

KIRBY  
>NOOOO! YOU BASTARD!<p>

Benjamin than unties Roy, leaving Kirby still connected to the rope and PUSHES THEM AWAY FROM THE PLATFORM. Roy starts to fall, KIRBY GRABS ONTO HIS HAND. Roy dangles over the drop... Benjamin watching with satisfaction.

SIDNEY  
>Oh my God...<p>

MARK  
>(whispers)<br>I'm calling them in...

Benjamin begins walking back down the platform.

BENJAMIN  
>(looks at Sarah)<br>And her... psh, she ain't shit to me, so -

A STABS SARAH IN THE STOMACH. MARK JUMPS UP AND GRABS BENJAMIN, PUTTING HIM IN A HEADLOCK AND THEY BOTH TUMBLE BACK IN THE WATER. The rapids RUSH FORWARD, Sidney running to Sarah's aid.

Roy HANGS ONTO KIRBY'S HAND while still trying to cover his wound. He looks up at Kirby, trying her best to hang on. THE ROPE HOLDING THEM BEGINS TO SNAP.

ROY  
>I'm sorry, Kirby.<p>

KIRBY  
>DON'T YOU LET GO!<p>

ROY  
>I have no choice!<p>

Sarah gets untied and falls to the floor, woozy. MARK AND BENJAMIN CONTINUE TRADING PUNCHES IN THE WATER.

SARAH  
>Their rope is breaking, go help them!<p>

Sidney looks up and RUNS UP THE STAIRS. She gets to the main controls - - there's a billion buttons.

SIDNEY  
>I don't know which one to push!<p>

KIRBY  
>PUSH ANYTHING!<p>

Roy begins to slip... the rope begins to tear more.

ROY  
>I need to let go, baby.<p>

KIRBY  
>I swear to God, you better not let go!<p>

Sidney presses the biggest button she sees - - THE RIDE STARTS OPERATING AGAIN. The boat makes it's way up the lift, Mark gets HEADBUTTED and falls back into the water. Benjamin sees Sidney up the stairs and he tries to climb out. MARK GRABS HIM AND PULLS HIM BACK UP. The boat comes straight for them. Mark throws Benjamin up and DUCKS DOWN in the water, the boat STRIKES Benjamin in the head and then forcing him down below, blood seeping out of his head. They continue fight underwater as the boat glides over them. The boat now makes its way up the tiny lift just before the drop.

ROY  
>Look, I'm gonna jump in that boat so I'm<br>gonna let go, okay?

KIRBY  
>DON'T YOU MISS!<p>

THE ROPE SNAPS SOME MORE. The boat PLUMMETS DOWN THE FALL. Roy looks down - - he's missed it.

ROY  
>Shit!<p>

KIRBY  
>There's another one coming!<p>

ROY  
>We can't wait that long.<p>

Sidney presses the right switch - - BUT THEY GO EVEN FURHTER AWAY.

KIRBY  
>Sis, you better get this right!<p>

She brings it towards the platroom. IT JAMS.

SIDNEY  
>DAMMIT!<p>

Roy looks up at his fiancee... he has no other choice.

ROY  
>Kirby... you live your life. You get<br>married, you have kids.

KIRBY  
>NO! Don't you start!<p>

IT SNAPS EVEN FURTHER.

ROY  
>I love you more than anything, baby!<p>

KIRBY  
>NO! NO!<p>

ROY  
>I'm sorry!<p>

KIRBY  
>ROOOOOOY!<p>

... he lets go. HE PLUNGES AND VANISHES WITHIN THE ROARING WATERFALL BELOW.

KIRBY  
>ROY!<p>

MARK grabs Benjamin's head and SMASHES it against the next oncoming boat. Mark then jumps up to the side and climbs out of the water. Benjamin JUMPS OUT, grabbing his foot. MARK KICKS HIM in the stomach and UPPERCUTS him in the face. Benjamin lands in the boat and it makes its way up the small lift.

MARK  
>Stop the ride!<p>

Kirby's rope snaps a bit more - - IT'S HANGING BY A THREAD.

KIRBY  
>Sidney!<p>

Sidney presses the ride start button again. The ride stops - - but the boat is already descending down. KIRBY'S ROPE SNAPS.

KIRBY  
>SIDNEY!<p>

She falls down - - LANDS IN THE BOAT in the row behind her father. The boat SMASHES AGAINST THE WAVES below - - the ride ending. BENJAMIN JUMPS UP AND GRABS KIRBY BY THE THROAT.

BENJAMIN  
>You don't want anything to do with me, eh?<br>I BROUGHT YOU IN - - I'LL TAKE YOU OUT!

HE CHOKES HER HARDER, SQUEEZING HER UNTIL SHE TURNS PURPLE. POOT! Benjamin looks down... he bleeds through the costumes.

BENJAMIN  
>Oh...<p>

KIRBY KNEES HIM IN THE STOMACH AND KICKS HIM OVER BOARD INTO AN ONCOMING BRIDGE, SMASHING HIS HEAD AGAINST IT. SWAT MAKES THEIR WAY OVER, READY TO TAKE DOWN BENJAMIN. Benjamin climbs out of the water and comes onto the concrete. He sees the SWAT coming... HE RUNS INTO THE GIFT SHOP.

INT. GIFT SHOP - CONTINUOUS  
>Bullets RAIN THROUGH THE merchandise inside, Benjamin jumps down and hides behind the cash register. He opens the drawer underneath where a holster is - - there's no gun.<p>

ROY  
>RIGHT HERE.<p>

Benjamin TURNS, SHOCKED. ROY PULLS THE TRIGGER, THE BULLET PIERCING THROUGH HIS SKULL. He falls back against the merchandise behind the register, his brain matter EVERYWHERE. SWAT comes in, STILL FIRING. Roy ducks out of the way and jumps out of the shop. BULLET HOLES RIDDLE THROUGHOUT BENJAMIN'S ALREADY DEAD BODY. They got him. He falls - - dead, a bloody mess.

Roy watches from the side, holding his stomach. He lays his head on the ground and then JUMPS UP, running back to the ride.

EXT. PREHISTORIC SCREAM - CONTINUOUS  
>Roy makes his way to the boat, Kirby still trapped within. He jumps down and unties her, her eyes open wide in relief.<p>

KIRBY  
>Oh thank God.<p>

She pulls him in and they kiss, a long deep and passionate one. Sidney, Mark and Sarah also come out from an emergency exit near the entrance. They see Kirby and Roy in an embrace, stopping to watch.

MARK  
>It's beautiful, isn't it?<p>

SARAH  
>Yeah, yeah, I got a hole in my stomach so if<br>we could please...

They then carry Sarah and make their way over to the SWAT, who then takes Sarah and carry her off. Sidney stops at the gift shop and looks inside... she sees the bullet holes and makes her way in. She looks down at Benjamin, his body still smoking from the bullets.

SIDNEY  
>There... now I accept... just the way you are.<p>

A helicopter starts to whizz overhead. She steps out and looks up, the light shining down on them. THE MUSIC TRIUMPHENT. Sidney looks over at Mark, leaning against the wall. She hugs him.

SIDNEY  
>My knight in shining armor...<p>

He smiles... and they kiss. From a God's Eye View, we look down - - the sun is rising over the valley. We FADE OUT - -

FADE IN:  
>INT. PRESS CONFERENCE - DAY<br>A police cheif makes his way to the podium and looks on at the press.

CHIEF  
>Today, one of the most violence crime<br>sprees in the history of America took place.  
>With over more than 30 casualties total<br>over a two month span, I am glad to announce,  
>it is over.<p>

THE AUDIENCE CHEERS. We now montage through the events as he speaks about them.

- Kincaid's office.

CHIEF  
>We have collected a numerous amount of<br>evidence detailing all the going ons in  
>the supposed Ghostface Society. We have<br>found the hard drives, hard ware and all  
>of the files that chronicled every action<br>that went on within. And in that evidence,  
>we have found ALL 27 of the remaining members<br>of the Ghostface Society and we have taken  
>them into custody.<p>

- MORRISON being hauled away by cops and thrown into a cop car.  
>- MALLORY FOX. NICK SEEDS. DOZENS OF OTHERS.<p>

CHIEF  
>The website they operated out of has been<br>compromised by us and we are now in the  
>process of making sure there aren't any<br>other leads or that any other crimes were  
>organized by this organization. The survivors<br>of the attacks, from this moment on, have  
>decided to leave their respective cities and<br>if they knew each other... they will no longer,  
>unless man and wife... live within the same area<br>for their continued safety and to be protected  
>from any potential oncoming attacks.<p>

CUT TO:  
>EXT. SANTA MONICA PIER - DAY<br>"Locke'd Up Again" by Michael Giacchino begins to play (youtube . com/watch?v=6sAuOcdRpy0). Kirby is at the end of the pier... holding an urn. She looks down at it and rubs it...

KIRBY  
>Okay Niley... this is where you'll go.<br>Your favorite place.

She kisses the urn and her eyes begin to water. Sidney approaches her from behind and puts her hand on her shoulder.

SIDNEY  
>Hey.<p>

KIRBY  
>Hey.<p>

SIDNEY  
>Want help?<p>

KIRBY  
>Sure.<p>

SIDNEY  
>I just wanted to say, that um... whether it<br>counts or not... I'm proud to have you as  
>a sister.<p>

Kirby smiles and then lifts up her shirt.

KIRBY  
>We have the matching scars to prove it.<p>

Sidney laughs and then looks out at the ocean.

SIDNEY  
>(beat)<br>You know... after all those times being asked...  
>"how would you like to die," I actually came<br>up with an answer.

KIRBY  
>Really? What?<p>

SIDNEY  
>... I wanna be old. 85, maybe. And I wanna<br>live in a cottage... somewhere in Ireland...  
>sitting in a rocking chair with a good book<br>in my hand... staring out the window at the  
>deep green that goes on further the eye can see...<br>(jokes)  
>Sheep passing by and everything.<p>

They both laugh.

KIRBY  
>I'll miss you, Sid.<p>

SIDNEY  
>We'll see each other... one day. When we - - can.<p>

KIRBY  
>Precaution. I know.<p>

SIDNEY  
>But hey... we can still talk. All the time.<p>

KIRBY  
>Okay.<br>(beat, sighs)  
>Okay... let's do this.<p>

(1:06) Kirby opens the top of the urn and looks down inside. Sidney helps her hold it up. There's a bit of reluctancy... but they continue on.

(1:22) Kirby and Sidney empty the urn, Niley's ashes FLOAT IN THE WIND. Sidney watches, and they both begin to cry. It's beautiful...

(1:40)

SIDNEY  
>Alright kiddo... I'm out of here...<p>

They hug tight. She whispers something in Kirby's ear - - but we can't hear. They let go and Sidney continues on.

KIRBY  
>I'll call you.<p>

SIDNEY  
>(turns around smiles)<br>... text me.

They smile at each other and Sidney continues on. Kirby looks back out at the ocean. We begin to zoom out as her back is to the pier, she looks on...

(2:01)  
>CUT TO:<br>INT. CANADIAN SUBURBS - DAY  
>The music continues. Gale and Dewey live a happy life together, enjoying the mom and dad life. Their son, grown up a bit to about 5 years old, RUNS into his father's arms. They both laugh and he takes his son to Gale, kicking at the stove. Their son gives her a BIG KISS. Dewey smells the food and tries to taste it. She slaps his hand.<p>

(2:10)  
>CUT TO:<br>INT. DINER - DAY  
>RJ returns to his seat at a booth and looks down. It's apparent he's sad. He goes ahead and kneels his head down and sips on the soda... he scrunches up his eyebrows... HE JUMPS UP and looks out the window, his eyes searching onward. His mother, Karen, comes to booth now and puts her hand on his shoulder. RJ begins to cry and she pulls him in for a hug.<p>

(2:20)  
>CUT TO:<br>INT. CHAPEL - DAY  
>Kirby and Roy, dressed as man and wife, come in for a kiss. Nobody is there but they don't care... they're as happy as can be.<p>

(2:37)  
>CUT TO:<br>EXT. IRELAND PLAINS - DAY  
>Sidney exits a small cottage and looks on. The grass is green as FAR AS THE EYES can see. She sighs and smiles... looking on. Mark approaches her from behind and holds her, kissing her on the cheek. They both then kiss and go into the house...<p>

The music fades out at (3:00).

FADE TO:  
>INT. BECKER'S HOUSE - NIGHT<br>WE SLOWLY PUSH IN ON A PHONE... it rests on the counter top. We can hear echos of the previous films quotes... everything else is just quiet. The quotes fade out...

THE SCREEN FADES TO BLACK.

* * *

><hr>  
><hr>

"Kiss With a Fist" by Florence and the Machine begins to play (youtube . com/watch?v=WZOBRbVCJL4).

* * *

><p>THE CREDITS SMASH ON AT (0:10)<p>

* * *

><p>THE END <p>

* * *

><p>When reviewing, if you have time, answer a few of these for me!:<br>1) Your favorite parts  
>2) Your favorite new characters<br>3) Your favorite returning characters  
>4) Least favorite those first three from above<br>5) Least favorites...  
>6) Least favorites...<br>7) Top 5 most intense moments  
>8) Top 5 best deaths<br>9) Top 5 most surprising/shocking moments  
>10) Your reaction to the killer reveals<br>11) How good were the motives?  
>12) Who did you think the killers were from the beginning? Did it change often?<br>13) What did you think of the music incorporation?  
>14) Have you referred this story to anyone else and if not already, will you?<br>15) Did the grand finale live up to everything presented before it?  
>16) One out of 10, to being high, rate Scream 6.<br>17) Which one did you like more, Scream 5 or Scream 6?  
>18) RANK the Scream films (including my part 5) in order from most favorite to least.<br>19) What fanfic would you like to read next written by me? (Nightmare on Elm Street, I Know What You Did Last Summer, Urban Legend, Dawn of the Dead, etc.)  
>20) Saddest moment(s)?<br>21) Your top 5 favorite moments of any kind from Scream 5 & 6. 


	30. Writer's Commentary: Part 1: NEW!

Chapter 1 -  
>BRIDGING THE GAPS: The banner shows this takes place 5 years after the events of Scream 4 &amp; 5 in the year 2016.<br>TRIVIA: HFN is based off of Halloween Horror Nights at both Universal Studios Hollywood and Florida.  
>TRIVIA: Do the victim's names seem familiar? They're the names of the first victims in each of the Nightmare on Elm Street movies.<br>TRIVIA: This would be the first time in a Scream film that hispanics are represented.  
>FLASHBACK: John Milton was the producer of Stab 3 who was killed by Roman Bridger.<br>TRIVIA: The plot of the Stab Tram is very similar to a plot line in The Dark Knight, a film referenced in Scream 5.

Chapter 2 -  
>BRIDGING THE GAPS: Jay and Silent Bob return to the franchise for the first time since their cameo in Scream 3.<br>TRIVIA: This is the first time Stab 4 is shown. It was referenced in Scream 5 as the film where Randy is the killer who faked their death. Silent Bob is shown as a killer in this scene.  
>BRIDGING THE GAPS: We learn that Stab films can no longer be made and that the Ghostface costume have been taken out of production since the events of the last film.<br>TRIVIA: The scene references all of the opening scenes from Scream 1 - 5. Can you spot them?  
>TRIVIA: The idea of the opening is modeled after the opening to Scream 2 but instead of watching a movie, they're living a movie.<br>TRIVIA: Usually there's only 2 opening victims but that number doubles for this film with 4 and also another first, someone survives.

Chapter 3 -  
>TRIVIA: This is the first time the opening of a Scream film is a flashforward to events to come later, which is done to put on emphasis on the fact that two murders occur in two different cities at the same time.<br>BRIDGING THE GAPS: Sidney and Mark have gotten married. Kirby and Roy are engaged. Dewey and Gale have since reconciled.  
>TRIVIA: "I Just Called to Say I Love You" is an ironic play on words on the idea of Scream.<br>BRIDGING THE GAPS: We learn Niley is now a professional actress... not a good one but still professional.  
>BRIDGING THE GAPS: Kirby has since become a "screenwriting prodigy," writing the film that Niley is starring in and with a project already finished.<br>FLASHBACK: Niley plans to attend a party at 261 Turner Lane... Stu Macher's old house.  
>TRIVIA: The "hitting your marks" joke was supposed to come in later with Niley punching Mark Kincaid but the scene was cut.<br>TRIVIA: Dr. Mongomery is a parody of a character on Grey's Anatomy/Private Practice with the same name and job title, a show that Patrick Dempsy is a main character on.  
>BRIDGING THE GAPS: We learn that Gale and Dewey are incapable of having children.<br>BRIDGING THE GAPS: Roy has since started up a new radio show at Windsor College.  
>TRIVIA: Two music references in the radio scene: Nick Seeds is a play on the band name of Nick Caves and The Bad Seeds - - the band that sings "Red Right Hand," which was featured in Scream 1 - 3 and Roy plays a song by Ida Maria - - the band that sang "Bad Karma," which was the ending credits song for Scream 4.<br>TRIVIA: This is the same room that Dewey was stabbed in during the Windsor Murders. There was a reference but it was cut.  
>RED HERRING #1: Nick Seeds and Mallory Fox seem suspicious considering they are giving tickets away to an event where people will be killed later.<br>RED HERRING #2: Terri seems awfully interested in Roy but things turn when she hears her name come from the air vent. Who could it be that said her name? Nick or Mallory?

Chapter 4 -  
>RED HERRING #3: Nessa makes a suspicious phone call regarding Niley.<br>BRIDGING THE GAPS/FLASHBACK: We learn that Nessa is apart of Omega Beta Zeta, the same sorority prominent in Scream 2 that was trying to induct Sidney. She makes a phone call to Lois, a sorority sister in Scream 2 who now has a higher standing.  
>BRIDGING THE GAPS: We learn that the events of Scream 5 are referred to as "The Ghostface Radio Murders."<br>TRIVIA: "I Think I Love You" is playing in the Windsor Cafeteria, the same place where Sidney's boyfriend Derrick once sang the song to her.  
>FORESHADOWING: Roy mentions half naked pillow fights, a joke that'll come in handy later once we learn more about Nessa.<br>BRIDGING THE GAPS: Why did Niley get interested in acting in the first place? Something that'll be looked at in the prequel TV show, "Woodsboro High."  
>TRIVIA: This is the first time that the opening victims are seen alive in a scene later.<br>BRIDGING THE GAPS: Chuck and Kris reveal that they used to know Niley and Roy back in high school, another reference to things to come in "Woodsboro High."  
>FORESHADOWING: Roger pretends to be un-tech savvy.<br>RED HERRING #4: Niley clearly asks RJ if he's a killer.

Chapter 5 -  
>TRIVIA: This is the first time since the original Scream that we see Stu's house.<br>RED HERRING #5: The Masked Man, that we learn is Everett, tries to drug Niley.  
>TRIVIA: Peyton is a prominent character in the spin off, "The Omega Beta Zeta Massacre" whose role was cut down in Scream 6 for time.<br>RED HERRING #6: RJ seems to have an odd control of his anger.  
>TRIVIA: Zombie's costume is the costume of Billy Loomis.<br>TRIVIA: We then learn there are four Ghostface murderers, a main point in the plot.  
>TRIVIA: Scarecrow and Zombie were both masks to be originally seen in Scream 4 during the Stab-A-Thon. Bloodred is an original Ghostface costume idea.<br>FLASHBACK: Mark's partner from Scream 3, Wallace, is still his partner after all these years.  
>BRIDGING THE GAPS: We learn that Gale has given up on reporting and journalism, which would make us assume she did not write a book on the Ghostface Radio Murders.<p> 


	31. COMING SOON

Dying to Scream some more?

The EXTENDED EDITION, coming this April!


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